Post by: Noel_Vera on Jul 13, 2002 at 01:22 AM
Post by: Noel_Vera on Jul 13, 2002 at 01:24 AM
Noel Vera
Mario O'Hara's "Kastilyong Buhangin" (Castle of Sand, 1980) is the story of two children, a boy and a girl. The boy lives with his mother (theater and radio actress Metring David); the girl is an orphan, and suffers under a stepmother (Bella Flores) and her lover (Mario's brother and character actor Edwin O'Hara), a drunkenly violent man who beats the girl every chance he gets. At one point, the girl confesses that she envies the boy, who has many dreams and seems to be going somewhere; she, on the other hand, has no place to go. The boy chides the girl, and tells her that he'll always take care of her, no matter what. And so their fates are sealed...
O'Hara tells this hard-luck story with such heartfelt simplicity and directness that the viewer is captivated. Boy befriends a girl with a curse; boy and girl help each other, find solace in each other's company. Boy confronts curse, and defeats it; with the implacable logic of all fairy tales, curse is lifted from the girl and transferred to the boy, who spends the rest of his youth growing up in reformatory prison.
O'Hara shows us a prison life full of realistic detail and a casual, almost unnoticed lyricism--at one point he has the boy running through a field of flowers that, we assume, the convicts have planted and cared for over the years. The girl, now staying with the boy's mother, visits once in a while, and their meetings have the unforced happiness of two childhood friends seeing each other again. Then, almost unnoticed (a quick match-cut from young boy to grown man), the boy becomes Lito Lapid, one of the film's stars, who runs up to meet his visiting "sister," Nora Aunor, the film's other star.
I described the lengthy beginning in some detail because it seems important to O'Hara's concept of the film. "Kastilyong Buhangin's" prologue painstakingly establishes a fairy-tale tone (perfect for defusing disbelief in a fairy-tale melodrama); presents to us the childhood traumas that shaped the characters; and introduces an all-important fatalist attitude towards destiny--how one may fight and resist it for a while, but ultimately must submit to it.
It's this prologue with its precisely evoked emotional texture that distracts you--distracts, misdirects, ultimately demolishes from your awareness the fact that this is actually a vehicle for both Lapid and Aunor. Aunor being a singer and actress and Lapid being a stuntman turned action-star, the film is a melange of pop-song numbers and hand-to-hand combat sequences--an odd combination for a melodrama and usually a fatal one, in that the natural reaction would be to refuse to take any of it seriously. I mean, how can you watch with a straight face a cover of "Corner in the Sky" from "Pippin" (complete with Carpenters-style orchestration and choreography) followed by a deadly gang fight set in a meat market?
Somehow you do; somehow you watch not only with straight face but also with bated breath, hoping Lapid comes through the meat-market fracas okay--which is O'Hara's achievement. Like the popular song composed by George Canseco that serves as the film's theme and title, "Kastilyong Buhangin" dives into its emotional core and serves the story up simply, sincerely, shot in O'Hara's uniquely cinematic style.
Aunor as the rising singer saddled with a problematic lover (think "A Star is Born") gives the film its dramatic fire and substance. She's the sensible person hurting because she loves someone much less sensible; she's torn between the urge to abandon that person (the common-sense professional) and the urge to stand by her man (the little girl that still remembers her childhood protector). By this time Aunor was considered a heavyweight drama actress--she had made "Ina Ka ng Anak Mo" (You are the Mother of Your Child, 1979) with Lino Brocka; "Ikaw ay Akin" (You are Mine, 1978) opposite rival Vilma Santos (Ishmael Bernal directing); and, of course, "Tatlong Taong Walang Diyos" (Three Years Without God, 1976), with O'Hara--but there is nothing heavy about her acting here; it's human-scaled and elegantly drawn, with few wasted gestures or unnecessary lines of dialogue. As with Aunor's very best performances, the intensity comes not from her line readings (possibly her weakest moment is when someone is killed, and she cries out, perhaps too theatrically, for a doctor), but from her eyes--huge, dark, eloquent, a silent film actress in a sound picture.
O'Hara, understanding this, gives her many moments where she displays this quality--moments like when she suddenly ends a recording session and sits alone in the studio, all wordless glamour and mystery. Or when Lapid comes to her bedroom drunk, and makes a pass at her--Aunor rejects him at first, then thinks better of it. This second example is especially fine: you see from the expression on her face that she's a proper girl who really should refuse him--but she loves him, damn it, and she's tired of being so proper. The wine, after all is said and done, must be decanted some time; just this once she wants to live dangerously.
Aunor may be the dramatic spine supporting the film, but Lapid's character is its central consciousness, it's heart. Which is amazing, as from the little I've seen of his other work, Lapid's range as an actor is strictly limited--he has always played this shy, likeable "probinsyano" (provincial) who comes to the big city, mainly because it's the only part he can play. And O'Hara uses this; he counts on Lapid's shyness and apparent innocence to keep the audience on his side while O'Hara sketches a darker, more complex side to the character.
In effect Lapid, who's eventually released on parole, has adjusted so well to the claustrophobic cells and strict regulations of prison life that the open spaces of the world outside gives him a kind of agoraphobia; he can't help but shrink back in fear. From whiling away the days with his convict friends, he's now expected to go back to school, get a job, become a responsible human being (expectations so daunting, even to us ordinary people, they must seem almost impossible to an ex-convict).
con't
Post by: Noel_Vera on Jul 13, 2002 at 01:28 AM
And Lapid can't deal with it; he resorts to drinking regularly, falls in with all kinds of dubious friends, gets into all kinds of trouble. In effect, Lapid never left prison--he's just graduated to a larger one with more complex regulations, the locks and restraints applied mainly to his mind, where they can't be picked or broken. In one telling scene some friends get him drunk, and he responds by giving them a floor show--the kind of gyrating dance men learn from nightclubs and strip joints. Eventually his dancing suggests something more--a release of pent-up emotions, of energies long repressed. Finally he's merely whirling in place, his arms and legs flailing about while he fruitlessly seeks escape, release, relief, a mammal running helplessly on a treadmill until he collapses, weeping in anger and frustration. He literally has no place to go.
In Lapid's character O'Hara shows us that innocence is not enough--that in fact it will be innocence that causes us to fall out of step with the world (which is essentially corrupt), that will trip us up and bring us down. O'Hara gives us a portrait of a man drowning, and surrounds him with loving, caring people (Aunor, David) who can only watch helplessly as he gradually chokes to death.
A word on the violence in this film--there's plenty of it, mainly because Lapid's character spent most of his time in prison learning (as far as I can tell) a combination of boxing, Karate, and streetfighting. The tragedy is that he might have learned too well; if he wasn't so good at defending himself, if he had been beaten up a few times early on, maybe he wouldn't be so fearless about getting himself into trouble.
As it is, the fight scenes are intricately choreographed, coherently shot and edited, and relentlessly realistic; they mark a major difference between O'Hara and his one-time collaborator, Lino Brocka. While Brocka has made noir films ("Jaguar," "Macho Dancer," "Hot Property"), and song-and-drama flicks ("Stardoom,"), he could never do action scenes, an essential to noir, very well--he leaves that to a fight choreographer to arrange, then photographs the results indifferently.
O'Hara is clearly more familiar with violence; he shoots it with flair and a real filmmaker's eye, and in "Kastilyong Buhangin" it is a major contributor to the film's grim visual texture. O'Hara even has a final setpiece, a riot in a prison shower room, that outdoes anything I've seen even in Ringo Lam's "Prison on Fire" movies, and looks extremely difficult to choreograph and shoot (O'Hara takes advantage of the fact that almost every one in the shower room is an accomplished stunt man to do the near-impossible--and on wet tiles, yet). The musical accompaniment to this orgy of violence is a sad, tinkling little melody, the kind likely to evoke childhood memories--as if Lapid's thoughts had gone beyond the body-blows and splashing blood, to a time when he could be both innocent and happy with the ones he loved. "Kastilyong Buhangin" was a big hit, possibly one of the few times the Filipino public would find O'Hara's dark sensibilities so palatable (the song, an anthem to the transience of life, would endure through the years to become a sentimental classic). In later works like "Bagong Hari" (The New King, 1986) and "Pangarap ng Puso" (Demons, 2000) O'Hara would push farther and farther into violence and brutality, almost uncaring as to whether or not the public would follow. They wouldn't, but these films remain as signposts marking off the kind of lonely and forbidding territories Philippine cinema--or at least one practitioner of the art--is able and willing to explore.
("Kastilyong Buhangin" can sometimes be seen at the Cinema One Channel, in Sky and Home Cable. Check your cable guide for schedule)
(Comments? Email me at [email protected])
Post by: xage on Jul 13, 2002 at 09:11 AM
Kastilyong Buhangin which was a popular local song in the early 80's by Anthony Castello?
Post by: keng001 on Jul 13, 2002 at 10:32 PM
Noel, thank you for this review. You should review more Filipino movies from the 70's and 80's.
Post by: Noel_Vera on Jul 14, 2002 at 07:08 AM
Next month will be Maynila sa Kuko ng Liwanag. ;D
Mod Message:
Nope, I don't think there's a thread on this yet. Here's a related thread though.
THE BEST FILIPINO FILM EVER (http://www.pinoydvd.com/yabbse/index.php?board=1;action=display;threadid=67)
Post by: kakabanas on Jul 23, 2002 at 05:05 AM
"You should review more Filipino movies from the 70's and 80's. "
Next month will be Maynila sa Kuko ng Liwanag. :D
Patiently waiting for this ...
Post by: xage on Jul 23, 2002 at 06:43 AM
Someone please delete this thread if I'm wrong, but I've been searching up and down the forum for something that would deal mainly with Filipino films, and couldn't find one. Can we at least start talking about them, now? Thanks...!
It dealt mainly with Filipino Films but on a different manner. ;D
Typical Filipino Films (http://www.pinoydvd.com/yabbse/index.php?board=1;action=display;threadid=64;start=0)
Post by: Noel_Vera on Jul 24, 2002 at 12:50 AM
Post by: keng001 on Aug 02, 2002 at 12:01 PM
Post by: pumpy on Aug 02, 2002 at 05:34 PM
Someone please delete this thread if I'm wrong, but I've been searching up and down the forum for something that would deal mainly with Filipino films, and couldn't find one. Can we at least start talking about them, now? Thanks...!
Post by: pumpy on Aug 02, 2002 at 05:37 PM
Post by: Noel_Vera on Aug 03, 2002 at 01:24 AM
Wala ata this month. Maybe next month?
Post by: paeng on Aug 05, 2002 at 12:29 PM
What about Viva Cinema? They used to show *Burlesk Queen* and *Batch '81*.
Post by: keng001 on Aug 05, 2002 at 01:35 PM
Post by: Noel_Vera on Aug 05, 2002 at 07:35 PM
Perfumed Garden is a grotesque curiousity by Celso Ad. Castillo. Not quite good, but definitely not boring or conventional. MIchael de Mesa is very good in it.
Post by: Noel_Vera on Aug 08, 2002 at 02:10 AM
http://film.guardian.co.uk/Century_Of_Films/Story/0,4135,421014,00.html
Some corrections:
First, that's "Neon" or more literally "light" not "darkness." I told him back in the 1999 Hong Kong Film Fest (or was it later?) and he must have forgotten. Or didn't listen.
Second, Marcos never "instructed his men" as far as I have heard; it was mostly Imelda, working in the background--the way Malcolm seems to put it, Brocka singlehandedly pulled down the Marcos regime--I'd argue scriptwriter Pete Lacaba did more on that score. Brocka was basically apolitical, even later when he was joining rallies, or so it's said; he noticed (about the time Yol was making the round of festivals) that political filmmakers made more milage...
Political Brocka is simpleminded Brocka; his truly great stuff is a handful of films back in the '70s, when politics were just another layer in the rich scheme of his work.
Final correction: personally I think Maynila, despite being on Malcolm's list and on "Film: A Critic's Choice" list of top 150 films in World Cinema, is overrated.
I'll post an article on this in a few days...
Post by: Noel_Vera on Aug 10, 2002 at 03:36 AM
Noel Vera
(Please note: plot discussed in close detail)
Lino Brocka is the best Filipino filmmaker ever; his masterpiece, "Maynila sa mga Kuko ng Liwanag" (Manila in the Claws of Neon, 1975) the greatest Filipino film ever made.
That was the consensus arrived at sometime after "Maynila" first came out, and the idea has persisted ever since. Has, in fact, been given greater legitimacy with a top spot in the Urian's list of the ten best Filipino films in the past thirty years, and by inclusion in the book "Film: the Critic's Choices"--a list of what some critics consider the 150 greatest films ever made.
That's what they say. What about us--you, me, the mere mortals? What do we think?
Strangely enough, it's a proposition we can easily test out ourselves, unlike with the works of other masters of Philippine cinema. Many of, say, Gerardo de Leon's best--"Daigdig ng Mga Api" (World of the Oppressed, 1965); El Filibusterismo (The Filibuster, 1962); "Sawa sa Lumang Simboryo" (The Python in the Bell-tower, 1952) have no available prints, and are deemed lost. As recent a filmmaker as Celso Ad. Castillo has had the negatives of his masterwork, "Burlesk Queen" (Burlesque Queen, 1977) turn to vinegary rot, while his epic "Ang Alamat ni Julian Makabayan" (The Legend of Julian Makabayan, 1979) is represented by a single faded 16 mm print. Not so with Brocka's "Maynila"-- a beautifully preserved subtitled print is available for screening (thanks to the picture's cinematographer, Mike de Leon), and the film is shown regularly on cable TV.
So how does the film fare, nearly thirty years later?
"Maynila" is the story of a young provincial named Julio Madiaga (Bembol Roco) who goes to the city to look for his lost love, Ligaya Paraiso (Hilda Koronel). He has one adventure after another before he finds Ligaya, who is kept hostage by a Chinese named Ah Tek (Tommy Yap). Julio and Ligaya plan to run away together, but Ah Tek stops Ligaya by killing her. Julio stabs Ah Tek to death, then runs; he's ultimately hunted down and killed himself.
The film in outline has a simple story--too simple, you might say; not much structure to it. Julio simply wanders around, passive, and allows everything to happen to him. After a while, he joins a construction company, and learns of unfair labor practices. A fellow worker dies; Julio is ultimately fired. After which he is introduced to the world of gay sex and turns male prostitute. After which he finally meets Ligaya inside a church...
The episodic quality may have come from the source, "Sa mga Kuko ng Liwanag," by Edgardo Reyes, serialized in "Liwayway" Magazine from 1966 to 1967. For each episode or installment, the writer provides enough incidents--bringing the end of the installment to enough of a conclusion--to satisfy the reader, at the same time keeping enough elements unresolved to entice him back for more. After twenty or more installments full of subplots and side characters exiting or dying or having climactic fits, you notice several advantages and disadvantages. One is the near-unpredictability--you can almost never guess what's going to happen to whom, or why. Another is the near-formlessness--having to retain the interest of a fickle audience, the writer usually keeps a constantly changing sideshow of clowns and grotesques and whatever going on, while the real story develops almost in the background.
It was once a popular way of publishing--Charles Dickens among others presented his novels to the public this way; as Dickens himself might put it, it's as popular an artform as you can imagine, entertaining and easy to digest (no matter how unwieldy the final hardcover may be). And Reyes, despite his considerable literary talents and (or perhaps because of) deeply felt social concerns, clearly wants to be seen as a popular artist, a people's artist.
And it's a legitimate way of telling a story. You don't always get the pleasures of a well-made plot--the twists, the reversals, the sudden revelations--but you do get something less conventional, harder to define: something much more similar in feel to real life.
There is a crucial difference between novel and film, however, and it isn't just the gay sequences that Brocka, in a fit of autobiographical exhibitionism, decided to insert into the picture. Brocka's Julio is driven into a corner, taunted, and tortured before he thinks of killing; in Reyes' novel, Julio was already a killer. It's a relatively short passage, where Reyes suggests that Julio follows a man into an alley to murder him--its very casualness, incidentally, making the passage all the more horrifying.
It's not just a matter of a small scene or episode being deleted for reasons of length; it's also not a matter of crying "foul!" just because a hair on the original's head was touched. Julio's crime colors our perception of him, makes him less passive, less of a victim or innocent; it makes our feelings for him more ambivalent and complex. By deleting the murder, Brocka ensures that our identification with and love of Julio is absolute. The advantage is that Julio's destruction is made all the more dramatic--the destruction of innocents is always more dramatic. The disadvantage is that the film is more simplistic in its treatment of Julio. Brocka has streamlined and intensified Reyes' novel, but at the cost of emotional complexity. Maybe not much...then again, maybe enough to cross the line between art and melodrama.
And this I think is a key weakness in the film. Yes, "Maynila" has an open, rather amorphous story structure--a perfectly acceptable style used repeatedly with some success (think Robert Altman's "Nashville" (1976) or its Filipino descendant, Ishmael Bernal's "Manila By Night" (1980)). But Altman's "Nashville" and Bernal's "Manila" gave us a constellation of characters with complex relationships, all interacting, in place of a classically structured story; Brocka's "Maynila" has just one main protagonist--Julio--interacting with himself. There's really nothing more beyond him than his surface loneliness and suffering. We know little of his past, other than his coming from the provinces and once having a girlfriend; we know he has homosexual tendencies, and that he's capable of murder when pushed--but that's all. Critics have commented on this allegorical quality of Julio--that he's the prototype Filipino, the symbol of the suffering everyman. I think it's a polite way of saying that Bembol Roco--an excellent, natural actor--doesn't have a character to work with here, that playing a nationalist symbol has never made dramatic sense, and that the character's passivity is really the passivity of an actor with no idea what's going on.
(con't)
Post by: Noel_Vera on Aug 10, 2002 at 03:38 AM
The rest of the cast--Tommy Abuel as Julio's close friend Pol; Yap as Ah Tek; Pio de Castro as Julio's up-and-coming friend Imo--are vividly drawn, but again interact with Julio in terms of whether or not they are allies or enemies; there are no shadings, no levels of ambiguity. Hilda Koronel's Ligaya Paraiso, which one critic once described as representing "Ynang Bayan" (Mother Country--!), is possibly the worse offender; her name translated literally means "Joyful Paradise," the kind of obvious dirty-joke name you'd give a porn star, not your daughter. Koronel is given a chance to prove herself late in the picture, with a long monologue delivered to Julio inside a motel room, a sad and sordid tale of rape and forced imprisonment. By monologue's end, with Koronel crying hysterically and Roco giving reassuring caresses, two things pop into your mind: 1) Koronel is a very beautiful and fairly talented young woman, and 2) she's too young and raw to carry off the complex, heavily-loaded monologue she just delivered. Pity, but there you are.
I'm not trying to make a case for "Maynila" not being a great--I think it is, but not for the reasons people have traditionally given for the film. In terms of its "meat" and "bones"--its characterization and story structure--"Maynila" isn't much more than an excellently-made melodrama; what makes the film great, finally, is its "skin." "Maynila sa mga Kuko ng Liwanag" has marvelous visual texture, thanks to its cinematographer, Mike de Leon (who would go on to become a great filmmaker himself). From its opening shot of littered sidewalks and choked-up "esteros" (canals) to its final one of Julio, cowering at the bottom of a dead-end alley, it is a series of voluptuous images captured raw and honest. More, the images are charged with an urgency, an immediacy uniquely Brocka's--as if Brocka had shot the picture right outside the theater where it's screening, developed the rushes, and raced inside to spool the print into the projector, fresh and smoking hot.
Giving life to the realism, of course, is Brocka's melodramatic energy. If the characters in "Maynila" don't benefit from the three-dimensionality of the best screenwriting, they--the leads down to the teeming extras--are blessed with that intense, Brocka-mandated quality of people struggling furiously to live, to hold on to every miserable erg of life. Roco in particular may be playing a symbol more than a fully realized character, but he does so with every nerve in his body alive, aware, straining to be unleashed. Catching sight of him for the first time onscreen (standing in the corner of Ongpin and Misericordia) you draw back, troubled by the animal fear in his eyes, the same time you're drawn in by their liquid sensitivity. A connection is made...
...a missing circuit closes, and the film comes to blazing life. You realize that the figures, the silhouettes you glimpse onscreen that stubbornly refuse to resolve into recognizable human beings are actually merely that--silhouettes, figurines. You stop looking for the psychological depth that isn't there and instead lean back to drink in the broad strokes, the panoramic view. The protagonist of the film, as it turns out, isn't Julio, or Ligaya, or the various other supporting characters; it's the city itself...
As a portrait of one man's corruption and downfall, "Maynila sa mga Kuko ng Liwanag" leaves much to be desired. As a portrait of a city caught between the edges of heaven and hell the picture is unmatched--no other Filipino film looks or feels quite like it, ever or since.
(The film can be seen on the Cinema One Channel, in Sky or Home Cable)
(Comments? Email me at [email protected])
Post by: Centurion Obama on Aug 10, 2002 at 07:01 PM
Post by: jayleno on Aug 10, 2002 at 10:49 PM
Oro Plata Mata(1976)- disturbing and odd. I just hope this Film could've been listed as well at PremiereMagazine's Top 25 Extreme Cinema list.That scene wherein Kuh Ledesma begs to be shot is priceless.
Scorpio Nights(1985)- arthouse classic.the whole movie revolves around a lower class apartment complex situated in the slums of Manila, and that is the only location used. The camera never got out to see the light of Manila. The film mainly reveals itself through it's cast of interesting characters who are all rather deprived of the hope of having a better life(which I think is what the enclosed location for the movie represents) and wherein sex is rather a everyday cuisine and a way to escape the harsh reality of 3rd world poverty.Premiere Magazine should've also listed this, though I think their list was mainly pre-empted for American and European film genre. Nagisa Oshima's Realm Of The Senses(1976)which was far more shocking than Blue Velvet was not even listed.
Tininmbang Ka Ngunit Kulang(1971)- Gives weightier issues on our social and moral dillemas. Thought provoking film.
Heartache City(1984) and Soltero(1984)- I like girl to girl love scenes. Though this films do have a story.
Post by: keng001 on Aug 13, 2002 at 09:51 PM
INSIANG (http://onfilm.chireader.com/MovieCaps/I/IN/04568_INSIANG.html) - Lino Brocka's classic - not a review but more of a synopsis.
Another INSIANG entry (http://physun.physics.mcmaster.ca/gregerse/toronto.html#insiang.html) - From the Toronto Film Festival in 1999. But more interesting, this article also list Sigueon-Reyna's Kahapon May Dalawang Bata
Midnight Dancer (Sibak) (http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/1995/10/27/DD35396.DTL) - Mel Chionglo movie.
Sa Pusod ng Dagat (http://reviews.imdb.com/Reviews/171/17121) - Marilou Diaz - Abaya movie.
Batang West Side (http://web.singnet.com.sg/~singbigo/batangwestside.html) - Our very own Noel Vera's review.
Of course, there's several reviews of American Adobo. (http://www.mrqe.com/lookup?American+Adobo)
Post by: Noel_Vera on Aug 14, 2002 at 02:29 AM
Post by: kakabanas on Aug 17, 2002 at 02:33 AM
A synopsis of Insiang? Sheesh. If they wait a few months I'll have a full blown review of the film...
When is "a few months" ? Can't wait to read your thoughts especially I heard that this story actually happened in Mario O Hara's neighborhood ...
Did I just drop the magic word ... or name ? ;D
8)
k
Post by: Noel_Vera on Aug 17, 2002 at 03:31 AM
I mean, I can post it here, but I hate pre-empting the magazine that actually paid for the darn thing...
Post by: aklan4ever on Aug 17, 2002 at 02:29 PM
I saw a post from another forum asking for help in a newly created webpage about Nora Aunor. The best part about the page are the movie reviews of HIMALA, BONA, INA KA NG ANAK MO and BAKIT BUGHAW ANG LANGIT. Click here to see the webpage and the movie reviews. (http://www.geocities.com/pinoymovies/noraaunor.html)
Most of these reviews are by Isagani Cruz. Does anyone know if he's still active and what magazine can we read his reviews?
HIMALA review was from Variety. Is it the same "Variety" newspaper in the US?
Post by: Noel_Vera on Aug 18, 2002 at 02:43 AM
Isagani Cruz...I don't know...when he complains that a character in a movie looks up and asks why the sky is blue and the camera pans up and it's grey, you can't help but think he'd complain about a perfect day that the sun was too bright...
Post by: Noel_Vera on Aug 19, 2002 at 09:09 PM
"First, Batang Westside is really too long. Five to six hours? It's probably worth every frame"
The moment you say this, there's nothing left to be said--the film is worth every frame. So for the sake of debate, we should set this aside, shouldn't we?
"there is such a thing as meeting somebody at certain times or need to be at home by this or that time. Finding time for BW is quite a challenge, let alone finding time for your next appointment."
It's actually like holding a seminar or even a retreat--those take two or three days to a week. Really a matter of scheduling.
"Jesus, can't filmmakers make a real nice movie in the usual 90 minutes time frame anymore?"
There are plenty of 90 minute films out there that are nice, even real nice; I say it's nice to also have a five hour film to place beside them as well.
"Second, people need to go to the restroom and a lot of gall bladders are likely to get sore in a lengthy feature like BW. I mean, how can one go to the CR when it would mean missing a crucial sequence?"
I've seen the film three times. I go when I feel like going, (which is about once or twice per screening) and even the first time, I didn't think I missed anything crucial.
"Jesus, does Lav Diaz even know that there is such a thing as a sequel?"
You're right--I hear Lav's sequel is going to be eight hours long.
"Third, like other filmmakers, Diaz is also asking us to patronize his personal film by actually paying for it. If he shows BW for free, I probably have no right to say anything against it but he IS showing his films commercially and I for one, have a right to demand that he somehow considers patrons like myself when making his films."
Uh...not necessarily; see, you have to pay to see his film, but if you don't want to see a five hour film, you can simply not pay. Freedom still applies.
You're demanding that he conforms to everyone's ideas about what makes a good film, which is no good at all--if filmmakers listened to everyone's input, then Burt Reynolds would have played Michael Corleone in The Godfather, Imee Marcos would have been Insiang, the shot of the batplane covering the moon would be cut and no one would have ever heard Judy Garland sing "Somewhere Over the Rainbow." History would have been changed if everyone has their say (everyone does in Star Cinema, which is why their films are rarely worth anything), and not necessarily for the better.
Length and commercial considerations have always been at war with each other--Seven Samurai at two hundred minutes was at one point cut shorter in the US for more people to get in and out of the theater faster; I consider the practice barbaric, but do accept that it happens.
"There is nothing wrong with pleasing the crowd every now and then because that is actually the very purpose and essence of movies to begin with."
Eisenstein would be surprised to hear that; same with Vittorio De Sica, John Sayles, Martin Scorsese, Charles Burnett and, yes, Lav Diaz.
Nothing wrong with pleasing a crowd; it's just that these filmmakers think a film should do MORE than please...
"You wanna make something really personal, show it for free. Or better yet, screen it only for your closest friends and relatives."
In which case filmmakers like Jean Luc Godard, Michelangelo Antonioni, Hou Hsiao Hsien, Edward Yang, Yasujiro Ozu and, again, Lav Diaz, have no right to make movies.
Incidentally, personal as Ozu's films are, small-scale and quiet and 'boring' to some people they may be, they are quite popular in Japan
"I also feel sorry for any moviehouse that will actually book BW for commercial screening (not that there's many so far), how can theater owners even break even with BW when they can only show it for a maximum of three screenings a day?"
This is a separate issue. There are creative ways of screening a five hour film, not just the usual commercial booking.
"Oh, and assuming this film even gets released on video, who would actually want to rent something that runs so long. A VHS copy would probably consist of three to four tapes and that's not even a director's cut."
Ever checked out The Godfather films? Lawrence of Arabia? Gone With the Wind? I'm talking of the commercial productions--Satantango is seven to eight hours long; The Human Condition is nine. Batang West Side, on the scale of long films, is actually of middling length.
"Having said that and judging from what I've seen in Burger Boys, it seems that Lav Diaz is in love with every frame he shoots. Burger Boys was screaming for tighter editing."
If A tastes bad, so does B. This does not logical reasoning make. Burger Boys was a very ambitious script and even I'm not happy with what he did with it (though I listend to an audio tape once, and know what? It's kind of fun). Just because one film is bad does not make it a foregone conclusion that all his films are bad, or at least in need of tighter editing. I've seen Burger Boys AND Batang West Side, and I say between the two films Lav's filmmaking took a quantum leap in quality.
"This post is addressed not only to Mr. Lav Diaz but also to all budding independent filmmakers in this list. As an average moviegoer, all I'm asking is that you take into consideration the above points I just raised, trivial as they may be."
And good points they are! But as with all points, rules, laws and whatnot, at one point or anther they can and should be broken. That's how new things, great things are made.
>Keep rocking,
Don't settle for just good sex man--keep it great!
Noel Vera
Post by: Noel_Vera on Aug 22, 2002 at 10:37 PM
Anyways...
Insiang comes home
Noel Vera
"Insiang," Lino Brocka's 1976 film about a young girl raped by her mother's lover, is arguably his masterpiece--an intimate chamber drama that slips like a butcher knife under the skin, slicing away fatty illusion and encrusted complacency. It's a visionary exploration of the squalor of Tondo communities, of little plywood shanties trembling under the shadow of a mountain of garbage--
The film was Brocka's first to be shown internationally; more, it was the first Filipino film to go to the Cannes Film Festival, where it was screened at the prestigious Director's Fortnight. Its reputation has grown since; the film has consistently placed high, if not at the very top, of every listing of the best Filipino films ever made. Audiences and critics alike sat up and took notice of Brocka when he made "Tinimbang Ka Ngunit Kulang" (You Were Weighed and Found Wanting) in 1974; they applauded his "Maynila sa Kuko ng Liwanag" (Manila in the Claws of Neon) in 1975. "Insiang " confirmed what Filipinos already knew--that Brocka was not just one of the best filmmakers in the country, but among the best in the world.
What few remember or even realize was that before "Insiang" was a film it was a script by Mario O'Hara, a close collaborator of Brocka; and that it wasn't even a film but a TV script, for an episode of the drama series "Hilda," back in 1973. A few years later Brocka was pitching projects to neophyte producer Ruby Tiong Tan (one of his proposals was a screen adaptation of Agapito Joaquin's one-act play "Bubungang Lata" (Tin Roof), which O'Hara turned into a film in 1998), and Ms. Tan agreed to "Insiang." O'Hara wasn't available to adapt his teleplay (he was directing his second feature film, the historical epic "Tatlong Taong Walang Diyos" (Three Years Without God, 1976)), so Lamberto Antonio filled in instead--according to O'Hara there were few changes. The film was shot on location in fourteen days, on a budget of P600,000 pesos (roughly three million pesos today).
The rest, as they say, is history.
It's now 2002, some twenty-six years later, and Tanghalang Pilipino has chosen as part of its 16th season to perform "Insiang" on the theater stage; the question foremost on everyone's mind--it was certainly on mine--is "why?" The film has achieved legendary status in the history of Philippine cinema. It remains indelible in people's minds as the definitive work of Filipino social-realism--in fact, after "Insiang," practically every other film on the topic, including Brocka's own "Jaguar" (1979) which was partly set in Tondo, seem almost redundant in comparison. Why remake what many consider a near-perfect work? In terms of structure, of sustained dramatic tension, of economy of means achieving maximum effect, the film stands above almost any other Filipino films (only one other approaches its elegance and intensity--Mike de Leon's masterwork, "Kisapmata" (Blink of an Eye, 1982)).
The difference between film and play is apparent from the opening scene: Brocka's film begins inside a slaughterhouse, with Conrado Baltazar's magnificent cinematography capturing the stench of offal; we're given a close-up of a knife plunging into a pig's throat, the blood fountaining out the hole. It's Brocka's idea of hell on earth, of violence institutionalized, mechanized, running like an assembly line at full capacity (which it is). This, Brocka is telling us, is Tondo, nor are we out of it.
The play opens on the slum-area set where the story takes place; instead of Brocka's blood-and-offal stink, we smell--detergent soap? Director Chris Millado in an interview talks of O'Hara telling him that slum dwellers, or 'squatters' as we like to call them, are not automatically prostitutes or drug addicts or thieves; that they make every effort to keep themselves and their surroundings clean; that some actually go to college, or hold white-collar jobs at offices, that a rough sort of law and order prevails. If this is hell, it's not a hell comprehensible through first impressions, a hell where the truth is as immediately apparent as in Brocka's film.
The play partly answers an age-old criticism of the film: when it was first screened in Cannes, the one negative comment was that Koronel was too beautiful to live in a slum; Brocka replied "but she IS from the slums." Good answer, but no one pointed out afterwards that Koronel didn't stay there; she quickly left and became a famous movie star. Actually, a woman who looks like Koronel would be noticed in a Tondo slum; she would quickly become someone's mistress or girlfriend, and rise up the social ladder accordingly. The slums of Pasay, where O'Hara had originally set the film, are full of prostitutes, bargirls, transvestites, what-have-you; girls, even girls as beautiful as Koronel, are a dime a dozen there. Brocka set the film in Tondo's slums and nearby Smoky Mountain because he wanted the visual impact of Koronel's beauty against Tondo's spectacular squalor.
Which may also indicate a basic difference between Brocka's and O'Hara's approach, at least with respect to this story: Brocka didn't seem to mind going after a good effect, even at the cost of some distortion of the truth; O'Hara, apparently, isn't as flashy--the truth's the truth, plain and simple.
It might seem strange to talk about simple truth when the play itself isn't so simple. Where Brocka presents the story in straightforward realist terms--as I've pointed out, his film set the standard for realism--O'Hara's play goes off into fanciful tangents: dramatic pauses, nostalgic flashbacks, what-have-you. O'Hara even introduces a new character, Toyang (the hilarious and moving Mae Paner), who functions much as The Common Man did in Robert Bolt's "A Man For All Seasons" (yes, that old chestnut, the narrator/commentator who scatters nuggets of wisdom like droppings throughout the play). O'Hara, however, pulls off a neat joke: Toyang is considered crazy because she talks to no one in particular, when in fact she's really talking to us. "Who" she asks indignantly, taking us in with a sweep of her arms "is crazy now? I've got all you people listening to me!"
It's a conceit worthy of the mindbending fiction of Philip K. Dick: to everyone around her, Toyang is a loon; to herself and us, she possesses the power to warp time and space according to her will. "Quiet!" she shrieks, and all fall silent as she explains the use of music in radio dramas as a transitional device; "stop!" she commands and the world pauses while she points out that the specific chord just played is a popular one in radio, used to emphasize dramatic moments. It's a distancing device, yes; it gives the audience regular doses of humor and the occasional breathing space. It's also a chance for O'Hara to display his broad knowledge of radio--the medium where he began his performing career some thirty years ago, and for which he feels too much affection to abandon entirely. Eventually during the course of the play, you realize that Toyang's asides also serve to show to us, through a process of deconstruction and analysis, that the story of "Insiang" itself is not so very different from a radio soap opera--one playing out live among the very same squatters who sit and listen to the radio so avidly every day.
"Insiang" sets out to be truthful and ultimately--with narrator, pauses, flashbacks and all--it succeeds, I think. When Toyang, for example, asks Insiang if she's a virgin, she halts Insiang in mid-speech to present her to us. "Look at that face--clear, unworried, the face of someone without secrets; Insiang is the one true innocent in this corrupt community." Later Toyang asks Dado, lover of Insiang's mother, why he came to Manila; he replies that he got a girl pregnant. Toyang freezes his face: "it's full of wrinkles, as if he had to think carefully before he gave his answer. This is the face of a man with something to hide." After the rape, Toyang pauses to look at Insiang's face one more time; the difference is telling. "She doesn't blink! Her eyes look straight ahead, and don't blink. This face frightens me!" A magnifying glass distorts light, to allow closer inspection of images; "Insiang" distends time, to allow us deeper insight into characters already made familiar by the film.
Post by: Noel_Vera on Aug 22, 2002 at 10:40 PM
Mona Lisa played Pacing as a Medusa with poisoned talons and imperious brows; her Pacing was abandoned by Insiang's father, and she takes out her anger on his daughter, the one thing left of him that's still with her. Malou de Guzman's Pacing is younger, softer, but with a startling capacity to hurt. You can believe a woman like her can attract a stud like Dado, with her hungry sensuality; you can also believe that she would turn on Insiang, given a choice between believing her or Dado. Pacing as de Guzman plays her is a scared, lonely woman, working and raising a child on her own; when the story of Insiang's rape surfaces, when she begins to see her daughter as a possible rival, she has to deal with the threat as quickly and thoroughly as she can. She doesn't need this--not Insiang, not now, not when she has what she feels is a good man with good prospects who's also good in bed; it might have been better, she must have been thinking to her most private, innermost self, if she never had a child at all.
We've talked about Hilda Koronel and her problematic beauty; what makes Sheenly Vee Gener such a fitting Insiang is her freshness. Her appeal stems mostly from the fact that she looks every bit as young and innocent as the character is supposed to be--like a just-opened morning blossom, you think, caught in the moment before the world begins to shrivel her, corrupt her, drag her down to the level of mud and dirt. What's so startling about Gener's Insiang is that she seems to retain her innocence even AFTER the rape--she looks unchanged except that her eyes have acquired a numbed, unblinking quality (she recalls those implacable Chinese youths who denounced their parents during the Cultural Revolution).
Finally (those who have not seen either film or play may want to skip the next paragraph), there is the conclusion. Lino Brocka's "Insiang" is, I think, a reaction to the great overarching themes of Philippine cinema, the love of mother and the struggle for survival of the family. The film strikes at both these themes; it shows them to be the illusions that they really are (which is a brave, foolhardy thing to do, considering how dearly we Filipinos love both mother and family). The impact of the film's climax comes from the speed, the viciousness of Insiang's assault on her mother; the girl, you feel, is evil incarnate--seeing that evil expressed in Koronel's lovely face, knowing how innocent her character is (or used to be) only adds to the shock. Later, visiting Pacing in prison, Insiang confesses that she had lied, that it was all part of a plan concocted to revenge herself on Dado, that she wants her mother's forgiveness (Brocka explained in an interview that this scene was forced on him by the censors, who couldn't believe a daughter could hate her mother so much). O'Hara takes the film's final monologue and, by simply changing the tone of Insiang's voice and cutting out her plea for forgiveness, delivers a final moral jolt: Insiang revealing to Pacing and anyone else who cares to listen how she manipulated her mother into murder and, ultimately, imprisonment. Rather than extend to her mother any hope of conciliation, Insiang offers her complete and utter contempt.
O'Hara in adapting the film for stage has done more than just relocate the action from Tondo to Pasay. He has deconstructed her story, presenting its roots in radio melodrama; demonstrated the power of melodrama when the story isn't compromised or diluted (when it's based on truth and nothing but); shown us (as Brocka did with his best works) how melodrama transcended can take on the aspect of true drama--of true tragedy. O'Hara, after a period of over twenty years, has finally stepped up and taken "Insiang"--his most famous and possibly finest collaboration work with the late Lino Brocka--and claimed it as his own.
(Comments? Email me at [email protected])
Incidentally, the play is ongoing at CCP, Thursdays to Sundays till August 25...
Post by: Noel_Vera on Sep 14, 2002 at 01:16 AM
Noel Vera
Maryo J. de los Reyes' "Laman" (Flesh) is his latest sex flick, and--surprise, surprise--it's pretty good. Well, maybe not so much of a surprise--de los Reyes has always been a competent craftsman and I've always thought that given good material (or at least material that's solid, without any embarrassing flaws), he can come up with a solid genre job.
In this case the job he comes up with is solidly in the genre of erotic "noir" drama. A married couple (Yul Servo, Lolita de Leon) come to Manila from the provinces to look for a job; they end up rooming in the house of Servo's best friend (Albert Martinez), who finds himself lusting for the ripe young wife. Albert plays a gigolo, and one of his most loyal customers is a successful businesswoman (Elizabeth Oropesa) who, in turn, develops a hankering for the young husband (Servo).
Seductions, revelations, realignments follow; it's the kind of melodramatic brew de los Reyes has done before, nothing radically new. But unlike "Paraiso ni Efren" (Efren's Paradise) there are no gauzy attempts at dream imagery, no unlikely subplots involving NGOs (the script and presumably the dream imagery were by Jun Lana). Unlike "Red Diaries," starring Assunta de Rossi, he isn't required to showcase some skin-flick diva's "thespic prowess." "Laman" is simple, small-scaled, and surprisingly honest. It doesn't make any pretense of aspiring to be more than what it is: a well-made example of itself.
Yul Servo as the husband is persuasively young and innocent--and later, innocence lost, persuasively idealistic; he proves with his sophomore performance that the potential he showed in "Batang West Side" (West Side Avenue) was no lucky accident, though his role here is far simpler. Lolita de Leon as his wife is refreshingly, 100% real (no surgical enhancements, her); she's good at playing exactly what she is, a young provincial lass corrupted by the big city.
Elizabeth Oropesa is equally good as the sexually voracious employer with a caramel core (think of the whore with the heart of gold become successful entrepreneur)--she makes you believe she has the ruthlessness to succeed in business, yet can still be attracted to Servo's goodness.
Albert Martinez is possibly the gamest actor in the industry right now. There's nothing he won't do, apparently, from wearing women's clothes ("Scorpio Nights 2"), to performing gay sex ("Gusto Kong Lumigaya" (I Want to be Happy)), to playing unmitigated bastards (everything from "Segurista" (Dead Sure) to this film). This may be the best role he's had in years, though, if only because it's the first role he's had in years where the character is clearly and carefully drawn. We come to understand Matrinez's gigolo; we know the need he has for security that leads him into relationships with wealthy women like Oropesa, the same time we know the maddening itch he feels when faced with de Leon's tremendous breasts. The one instinct is his best hope for a long and happy life; the other is trouble, pure and simple.
De los Reyes, who's in his fifties, needn't feel embarrassed when compared to the "Young Turk" filmmakers coming out of the woodwork nowadays; he is every bit as adept with shock cuts and innovative camerawork (overhead, handheld, what-have-you) as the best of them. He uses the "bleached-bypass" effect you saw in the battle sequences of "Saving Private Ryan," the one that leaches out colors; he even includes the trick in "Ryan" where anyone in motion looked as if he were moving under a strobe light. "Laman" is well-edited, well-shot eye candy, yoked--and this is where de los Reyes has an advantage over all the so-called "Turks" in the business--to a solidly written, realistically plotted script (co-written by de los Reyes himself, with Wally Ching).
I've heard of "Laman's" tussles with the Movies and Television Ratings and Classification Board (the MTRCB, or, in short, the Censors)--how it was "X'd" twice, and how Regal Studios finally gave in and submitted a shortened version. It's idiocy like this that makes me doubt the sincerity of government's interest in the arts; all they really seem to care about is in keeping it all clean and neat and toothless, like a travelogue. Granted "Laman" has no positive moral lesson to impart to adult Filipinos--a characteristic, truth to tell, common in noir--why do the morons in the MTRCB insist in denying us the privilege of judging the film for ourselves (what makes THEM so special? "Higher moral standards," perhaps, or some self-perceived immunity to smut?)? "Laman" is definitely no film for a child--problem is, the MTRCB seems insistent on treating me and every mature member of Philippine society like one.
(Comments? Email me at [email protected])
Post by: Noel_Vera on Sep 15, 2002 at 02:39 AM
Noel Vera
(Please note: entire plot discussed in close detail)
"Tinimbang Ka Ngunit Kulang" (You Were Weighed and Found Wanting, 1974) was in many ways a seminal work in contemporary Philippine cinema. It was one of the rare quality films of the '70s to enjoy commercial success. It announced Lino Brocka, previously known as a skillful commercial director, as a major Filipino artist. Few realized the significance of this bright new voice, that it would be the first of many--Mike de Leon, with "Itim" (Black, 1976); Mario O'Hara with "Mortal" (1975); Brocka again, with "Maynila sa Mga Kuko ng Liwanag" (Manila in the Claws of Neon, 1975), to name a few. Contemporary and putative rival Ishmael Bernal had actually debuted two years earlier with the masterfully assured "Pagdating sa Dulo" (At the Top, 1972), but that film, despite its excellence, made little impact on the industry. "Tinimbang" was like a rock flung through a plate-glass window; the film was a herald call, officially the first in what was to be called the '70s Golden Age of Philippine Cinema.
"Tinimbang" tells the story of Junior (Christopher de Leon), son of Cesar (Eddie Garcia), the richest man in town. Junior lives a relatively happy life; he stays in a huge house, he's popular and good-looking, his sweetheart Evangeline (Hilda Koronel) is the prettiest girl in school. Then Junior's life unravels: his father turns out to be an incurable lecher; his girlfriend is caught with another boy and summarily married off; Junior himself is seduced by Milagros (Laurice Guillen), the bastard child of the town mayor. Junior is driven to find comfort among the town's outcasts--in Kuala, a crazed homeless woman, and her lover, Berto the leper. He eventually realizes that everyone around him--from the loutish youths he calls his friends to the wizened old women he calls his aunts--are ignoramuses, hypocrites, spiritual grotesques. The film ends with Junior acting out the action described by the film's title--he stares at every town folk in the eye, judges them, and finds them all wanting.
It's a dramatic moment, and Brocka invests it with near-Biblical significance, as if Junior were some young Christ delivering verdicts right and left (it's hardly a coincidence that the title is taken from the Old Testament's Book of Daniel). It helps enormously--lends the film more heft and substance (not to mention a broader range of targets for Junior to glare at)--that Brocka worked on a broad canvas, one of the rare if not only moment in his career that he would do so. Brocka was essentially telling his life's story, drawing from his memories of San Jose, Nueva Ecija, and of the people there. Junior WAS Brocka--the sensitive young man, disillusioned with the status quo and yearning for something different, something more; he was also Milagros, the politician's bastard (Brocka himself was the illegitimate child of a political figure). You might say that the secret behind Brocka's intensity, behind his close identification with the outcast and oppressed, was that he himself was an outcast--painful knowledge that would make him more open to the plight of others, to fellow outcasts in life.
This intense identification he felt towards his characters is the foremost virtue of his storytelling; at the same time, it was his biggest vice. If he had a tendency to like certain characters--to get under their skin and look through their eyes--he also had an equal tendency to shut others out--to condemn and deny them their full measure of understanding.
You could see this to a certain extent in Brocka's treatment of Milagros. Guillen in an interview talked about how she would often chafe under Brocka's detailed direction (Brocka in response would call her his "Jeanne Moreau"--mysterious and neurotic). Milagros was clearly conceived to be a wordly, sensual woman who would initiate Junior into the mysteries of sex; Guillen (perhaps rebelling against Brocka's rigid direction) adds a hint of empathy, a sense that she's a hurt soul reaching out to a fellow hurt soul. It might have been more complexity than Brocka bargained for, because after the seduction scene Milagros essentially drops out of the picture. And you miss her; you want to know what happened to her, how she ultimately fared after her one-night stand with Junior.
An even graver sin is committed against an even more crucial character--Cesar, Junior's father. As it turns out, Koala had once been one of Cesar's many girlfriends; when she got pregnant Cesar had her baby aborted, and the trauma drove her crazy--she's been searching for her child ever since. Cesar, interestingly enough, is not unaffected by the affair; certain moments, certain movements of Koala's remind him of the beautiful girl he once knew. Eddie Garcia plays Cesar beautifully, and his could have been a crucial role in the film, the correlative to de Leon's Junior--where Junior is a young innocent waking up to compassion, Cesar could have been an aged hedonist haunted by it, mirror images lit from different angles.
But no; these flashes of remembrance and regret don't redeem Cesar in Brocka's eyes, perhaps because the character is too far from Brocka's own to understand, perhaps because he too closely resembles his father (he was reportedly a kind man, but Brocka may not have forgiven him for dying early). When the time comes, Junior judges Cesar as harshly as the rest--even harsher, perhaps, since Cesar had earlier warned Junior away from Kuala and Berto, and Junior holds this against him. Milagros and to a greater extent Cesar represent a wasted potential in Brocka's scheme for "Tinimbang," I think. They fall on the borderline that separates those who deserve Brocka's condemnation and those who deserve his compassion; they are either swept to one side of the border or forgotten, and the film's complexity suffers as a result.
But then Junior's story and climactic act of judgement--to my mind, anyway--aren't the film's true point of interest. The character of Junior, for one, is hardly original--he joins the protagonist in Federico Fellini's "I Vitelloni" and Timothy Bottoms' character in Peter Bogdanovich's "The Last Picture Show" as one in a gallery of small-town youths who learn about disillusion and heartbreak. Unlike the young heroes Fellini's and Bogdanovich's films, Junior is something of a self-righteous prig--de Leon plays him as if he's too good for the likes of his father and those hypocritical grannies. It's a superior stance too easily assumed; you feel he hasn't quite earned the right to do so.
The film's true power comes not from its foreground story but from its marginalia, from its deadpan observation of the absurdity of everyday small-town life, and from its excellent if flawed sketches of Milagros and Cesar. Its power comes most of all from Kuala and Berto, the town's most miserable inhabitants, and the intense yet simply told story of love found at the bottom of the world. Cesar feels unfinished and Junior feels downright thin (the flaw may be in the filmmaker's approach than in the performances); Kuala and Berto are fully realized characters (does it help that O'Hara, who plays Berto, wrote the screenplay based on Brocka's outline?). They are Brocka's version of Jose Rizal's "Noli Me Tangere" (Touch Me Not) with Kuala as Sisa--remember that "Noli" is about yet another dull young man who wakes up to reality, while in the novel's margins dance the unforgettable figure of a madwoman in search of her child…
Lolita Rodriguez, who plays Kuala, captures the smallest, wince-inducing detail about homeless lunatics, from scabied scalp to urine-stained thighs. O'Hara plays Berto as a man made utterly alone by his leprosy, perhaps not a little mad himself--when he first notices Kuala, it is with the predatory hunger of someone deprived of sex for a long, long time. Rodriguez and O'Hara make the relationship that blossoms between them effortless, yet utterly real--Rodriguez as Kuala responding to Berto's attentions hungrily, even greedily (the way a child would); O'Hara as Berto suddenly finding himself functioning as guardian and father as well as lover. The couple are the most successful evocation of love in any of Brocka's films, I think, and by far the most moving. A great film, possibly Brocka's best except for one other--but that's the basis of yet another article…
(The film can be seen on the Cinema One Channel, in Sky or Home Cable)
(Comments? Email me at [email protected])
Post by: FLIM on Sep 15, 2002 at 03:47 AM
SET UP AN ARCHIVE QUICK!!!! AND SAVE THOSE PRICELESS FILMS! FORGET THE FUTURE IT AINT THERE FOR PHIL CINEMA!! WE MUST LOOK INTO THE PAST TO FIND OUR SALVATION!!!! WE USED TO HAVE WORLD CLASS FILMMKAERS. NOW WE HAVE NOTHING BUT MEDIOCRE TV DIRECTORS AND THE WHAT HAVE YOUS THINKING THEY CAN MAKE GOOD FILMS!!!!GOD SAVE US ALL!!!!
Post by: Noel_Vera on Sep 15, 2002 at 04:16 AM
I've been trying to get the print of Tatlong Taong Walang Diyos restored for years, myself.
Post by: FLIM on Sep 15, 2002 at 10:48 PM
Post by: Noel_Vera on Sep 16, 2002 at 12:48 AM
Funny, FLIM!
"Add a commentarybetween you and Mario Hernando"
That would be too one-sided. Like that dogfighting bulldog in that Mark Twain story who liked to grab the enemy's hind legs--when he faced an opponent that had lost its hind legs, he was lost...
Post by: pinoymovies on Sep 16, 2002 at 04:07 AM
Post by: kakabanas on Sep 17, 2002 at 10:52 PM
Wasn't "Tatlong Taong Walang Diyos" produced by Nora Aunor herself thru her NV Productions? I heard the movie did not make any money during its initial release. It must be too "arty and weighty" for the Noranians. Maybe she can finally make a profit from it by releasing it on DVD.
Question is, does she have enough resources to do it?
Post by: Noel_Vera on Sep 18, 2002 at 01:51 AM
Post by: pinoymovies on Sep 19, 2002 at 03:41 AM
Post by: kakabanas on Sep 19, 2002 at 10:27 AM
Noel, you only need to sell about 50,000 DVD's if we price it at $20 each to break even. Price it higher if you add special features. With all the praise you've been lavishing for this movie, I'm sure it will sell more. ;D
Yeah, there's already 2000 PinoyDVD members (potential customers), you only need 48,000 hahaha !
If they will put English caption and find an international distributor, they might get 8000 more LOL. It's an old film and didn't even have any recognition it deserved internationally. Potential foreign customers are limited. What are the chances of it being a profitable venture?
8)
k
Post by: Noel_Vera on Sep 19, 2002 at 12:52 PM
Post by: kakabanas on Sep 20, 2002 at 08:48 AM
50,000 DVDs is an art film's wet dream.
Let's limit that to Filipino art films. That number is actually small for art films released internationally e.g. Crouching Tiger, Hidden Dragon ... can easily be accomplished if released in the U.S.
Post by: Noel_Vera on Oct 05, 2002 at 03:31 AM
By Noel Vera
Erik Matti has directed a number of films ("Scorpio Nights 2," "Ekis" (Crossed), "Dos Ekis" (Double-Crossed)) that he'd written himself, and the results were--well, let's just say they were less than satisfactory. He'd have noir storylines (teacher involved with student in "Scorpio 2;" kidnap gang collecting ransom in "Ekis;" two lovers on the run in "Dos Ekis"), in the most outlandish settings (a school dorm a la Federico Fellini in "Scorpio 2;" apartments behind a movie screen in "Dos Ekis"). He would throw in grotesque plot developments (professor dressed in drag, raping his student in "Scorpio 2;" dead body in a trunk in "Ekis;" sadistic torture of heroine in "Dos Ekis") that might have been perversely entertaining, only you're too insulted by the nonsense plots to enjoy yourself, however perversely.
This time Matti has decided to work with another writer, Roy Iglesias, and for the first hour at least, the difference shows. Fresh, pretty-faced Ditas (Aubrey Miles) goes to college in the big city, driven by Nonoy, a tricycle driver in cool shades (Jay Manalo). Driving down crowded streets, we get Jay's cynical point of view in voiceover, which goes something like: "pussy...all that pussy...if pussies worked hard to earn money, they would make millions...the Philippines will be saved by hard-working pussy...." Nonoy is actually a pimp, and he's driving his whore to her "casa" (whorehouse) to meet the boss, "Mama" Xedes (Racquel Villavicencio).
We get to know the people in the "casa," and we watch some fairly funny vignettes--some of them involving a necrophiliac, a man who wants to have breasts, another with unbearably smelly feet--among many others. "Mama" Xedes' is a professionally-run operation--almost unbelievably so: there's actually a health program going on, as the girls wait in the "casa's" porch to submit their urine specimens to a visiting doctor (most prostitutes go to free clinics). At one point, "Mama" Xedes asks a girl about to get married to "please don't leave until we find a substitute." Employees come and go, but the work must go on, uninterrupted...
The film runs into trouble about the time the conflict starts: Nonoy falls in love with Ditas, a development "Mama" Xedes has expressly forbidden, time and time again. Why? "Because it's unlucky," she explains. Granted, falling in love is inconvenient and unprofessional (and hers is a really smooth-running operation, with only an occasional raid to interrupt the workflow): why is she so adamantly about it? It's an age-old convention; that’s how some whores become whores: the pimp courts them, makes love to them, then introduces them to his "friends." "Unlucky" is an okay reason, but it doesn't have any urgency to it--certainly not enough to pin the conflict of an entire movie on. Iglesias' script, unfortunately, never satisfactorily settles the matter, leaving the question, the conflict, and the entire movie hanging in mid-air.
The movie never recovers from its misstep; earlier it had nothing to prove and no story to follow, so the one-thing-after-another flow of funny anecdotes worked just fine. Now there's a premise (a pimp and whore must never fall in love), Matti has to work up some momentum, and the movie's more than half-over; he has to build to his intense climax in some twenty minutes. What should be operatic tragedy comes off more as fast-forward comedy: "Mama" Xedes suddenly has to play villainess, and it doesn't fit what we knew previously about her nurturing nature. Nonoy has to storm up the stairs, storm off, storm back, ask forgiveness, and basically go berserk for no particular reason. Ditas--well, Ditas doesn't really do much of anything, except make love. She copulates with Nonoy in a closet, then in his tricycle; you wonder why she doesn't fall out the closet door (most closets I know don't lock from inside), or tricycle (she leans against a plastic tarp that shouldn't hold her for a second, conveniently ignoring a nearby handlebar).
It's a disappointing development, and with all the shrieking hysterics amidst the strikingly lit alleyways and rain-shower effects, unbidden thoughts come to your mind like: Ditas works in a "casa" and has a pimp? Pimps are a street prostitute's agent; they search for likely customers, haggle over price, and bring them over for servicing. A "casa" prostitute depends on walk-in customers; she doesn't need a pimp (if a "casa" prostitute went out to solicit, she'd be moonlighting--and probably encroaching on some street whore's territory). We see Nonoy waiting around in the "casa's" porch (that porch has got to be the town's social center), and delivering her to various high-powered customers, in which case he's probably not her pimp but the "casa's" bouncer and courier. Did anyone actually do any research for this movie?
Jay Manalo's Nonoy is intensely played, but he seems incapable of coherent thinking or decision-making--a prime example of a man with gonads for brains. Which is fine--intelligence in a character is not a prerequisite--as long as the movie recognizes his stupidity and uses it, perhaps satirically, but no: Nonoy is seen as tragic (he's not just an idiot, he's a tragic idiot). Aubrey Miles' Ditas, aside from not doing much, does the little she does without much talent; her coyly displayed nipples are her entire performance. Ditas' sister prostitutes--Hazel Espinosa and Pinky Amador come to mind--are a lively, funny bunch that help keep the first hour entertaining, but are dropped in the last half-hour, which kills the movie. As "Mama" Xedes, Racquel Villavicencio (who seems to be channeling someone, I just can't say who), has languor and mystery and a fantastically sensual low-pitched purr that outclasses every hooker in the picture, including Miles (she shouldn't be a madam; she should be commanding the highest prices). It's almost criminal of Matti to hobble her performance with a Captain Hook eyepatch, then give her a character that barely makes sense, on paper or on the big screen.
Villavicencio is actually more than just a character actor, she's a formidable scriptwriter who's worked with Mike de Leon ("Kakabakaba Ka Ba?" (Worried?), "Kisapmata" (Blink of an Eye), "Batch '81")) and Laurice Guillen ("Init sa Magdamag" (Midnight Passion)). Why didn't Matti ask her to write the script for the film, or at least look it over for problems, or at the very least ask her advice about character motivation and plot development? It's not as if Villavicencio is a stranger to or disapproves of sexuality in movies--"Init" is one of the most erotic films in Philippine cinema. She would have been the perfect choice to write "Prosti," only Matti isn't exactly known for making sensible, coherent choices, much less making sensible, coherent movies.
(Comments? Email me at [email protected])
Post by: Lex Luthor on Oct 07, 2002 at 02:46 PM
Quote
In the mood for lust
can't keep smiling when I read the title of your review coz while I was watching it i can't help but notice how Erik Matti does a lame Wong Kar-Wai. everytime he does this slow motion with a recurring musical score, i just can't help it, it's just too "In the Mood for Love-ish". >:(
Post by: Noel_Vera on Oct 08, 2002 at 12:57 AM
What, Matti thinks no one watches Wong Kar Wei? What a poltroon.
Post by: Noel_Vera on Oct 15, 2002 at 12:17 AM
"Insiang:" one unhappy family
Noel Vera
(Please note: story discussed in detail)
Lino Brocka opens "Insiang" (1976) with a close-up of a pig being stabbed in the throat, blood pouring out like a wide-open faucet. We see row upon row of headless carcasses, bellies split open from neck to crotch, their pink skin lending them an uncomfortable resemblance to human corpses. The film's cinematographer, the great Conrado Baltazar, captures the incandescent-lit stink and noise of a busy slaughterhouse like no one else has before, or since.
It's an amazing beginning, an opening image that foreshadows the slaughter to come. It also challenges you with the thought: "think violence to the flesh is bad? It's nothing compared to the violence possible to heart and mind." The slaughterhouse scene is an audacious note struck at the beginning of the film, the message loud and clear: "wait--there is worse to come."
Brocka then takes us to the slum in Tondo where Insiang lives, a cramped little community of cobbled-together shanties located near Smoky Mountain (literally a mountain of smoking garbage, the official dumping ground of Metro Manila at that time). Again, Baltazar's camera is crucial in capturing the stench of choked-up canals, the trembling of rickety, built-up shanties, the din of brown bodies yelling their way through narrow alleyways.
When we meet Insiang and Tonya, her mother, they are in the process of getting rid of their relatives--a whole passel including children camped out in the middle of the house. It's a clever scene that establishes Tonya (played by the imperious, still-handsome Mona Lisa) as a strong, sharp-tongued woman, relentless until she has her way; and Insiang (the beautiful Hilda Koronel) as a somewhat passive, gentle soul, embarrassed for her mother's behavior. Finally, it introduces a third character, when one of the relatives comes out and informs Tonya that they know her true reason for throwing them out: she has a new lover, and she wants privacy with him.
Insiang realizes the truth of this slander in the most embarrassing way possible--at night, listening to the moans of Tonya and Dado, one of the slaughterhouse butchers (stereotypically villainous Ruel Vernal, in possibly the role of his career). At dawn, Tonya has to face Insiang's accusing stare; Brocka makes the antagonism between the two women intensely palpable. Tonya loses this first round, as she is forced to endure the embarrassment of squatting before Insiang to urinate (they can't afford the luxury of a toilet stall); worse, however, is yet to come.
Insiang's rape--an act quick and brutal as the blow Dado delivers to Insiang's gut--is the initiating event that begins her turnaround. After Dado, everyone lines up to humiliate and betray her--her mother, by believing Dado and not her; her boyfriend Bebot (a young and pretty Rez Cortez), by taking up her offer to elope, then abandoning her in a motel room. With nowhere else to go, she returns to Tonya and Dado.
We see the first sign of change in Insiang when Dado comes to her one night and professes his love for her; Insiang realizes what is being offered, and asks a favor of Dado. Cut to the slopes of Smoky Mountain, where Dado and his boys are gathered around Bebot, pounding him into bloody pulp. It's a harrowingly violent scene, but you get the sense that it's somehow a preliminary scene--that someone's just flexing her muscles, trying out new things. Insiang is merely doling out punishment for humiliations suffered; next, she addresses the more serious issue of betrayal, the penalty accordingly more severe...
"Insiang" is arguably Brocka's masterpiece--it's his most intense work, the intensity sustained from beginning almost to end. It has the best-structured screenplay of all his pictures (by Lamberto Antonio, based on the original television script by Mario O'Hara); it's also one of his most atypical, and atypical of even most other Filipino films.
The intensity and structure go together hand-in-hand; you might say that structure is the source of the film's intensity. The story is admirably compact, with only three significant characters (Dado, Tonya, and Insiang) in essentially a single setting (Insiang's home--there are scenes elsewhere, but they could also as easily be set at home), the events taking place in the span of a few days to a few weeks. The relationships are remarkably symmetrical, with everyone manipulating everyone else--Tonya uses Insiang to revenge herself upon her absent husband, Dado uses Tonya to get close to Insiang, Insiang uses Dado to revenge herself on Tonya. Likewise, everyone betrays everyone else--Dado betrays Insiang's innocence, Tonya betrays Insiang's trust, Insiang betrays Dado and Tonya's belief in her innocence and trustfulness.
The film is comparable to Shakespeare's most elegantly plotted play, "Othello," except in "Insiang" the focus is less on Othello's downfall and more on Iago's creation. Insiang shares many characteristics with Iago--like Iago she is consumed by hatred; like Iago, she is the perfect murderer, able to kill through the indirect manipulation of others.
There are some differences (aside from the obvious one of sex): Iago makes the mistake, once in a while, of holding the knife himself (that's how he's caught); Iago is wholly evil from the start, while Insiang starts out as wholly innocent. Iago, ultimately is punished--Insiang is not, though she commits an even greater crime than Iago: she repents (more on this later).*
"Insiang" is atypical of Brocka's work, in that it's unusually tight and coherent (look at Brocka's other films--"Tinimbang Ka Ngunit Kulang" (You Were Judged and Found Wanting, 1974), and "Maynila sa Kuko ng Liwanag" (Manila in the Claws of Neon, 1975)--for examples of meandering, scattershot scripts). It's also the rare Brocka film that displays true ambiguity--by the end of the film, it's almost impossible to establish for certain who was good and who evil, who the raped and who the rapist (again, look at Brocka's other films, particularly the later ones--"Bayan Ko" (My Country, 1985) and "Orapronobis" (Fight for Us, 1989) for simplified notions of good and evil). You blame and sympathize with all three alike, dancing helplessly in an interlocked chain of lust and loathing.
The film is unique in another sense--Philippine cinema is dominated by the twin themes of love of mother and survival of the family; almost all Filipino films revolve around some aspect of either two. "Insiang" takes these two great, overarching themes and, with an unmatched ruthlessness, dashes them to the ground, shatters them, reveals them to be the fallacies that they really are. The film is saying: "there are no guarantees, not from family, not even from mother; if anything, the most painful betrayals are inflicted by mother and family. You are ultimately alone."
("Insiang" can be seen at the Cinema One channel, at either Sky or Home Cable)
(Comments? Email me at [email protected])
* ("Insiang" suffers from two flaws, one of them self-inflicted. The first is the premise--that a girl looking like Koronel could ever live in the slums of Tondo (Koronel was, and is, a stunner--when the film screened in Cannes, France Soir ran a picture of her more than twice the size of a far more famous actress, Farrah Fawcett-Majors). To complaints that Koronel "is too beautiful for the slums," Brocka had the perfect reply: "but Koronel IS from the slums!" Good answer--the unaddressed point, however, is that she didn't stay there; she rose to become a star. The original screenplay by Mario O'Hara had set Insiang's story in a Pasay slum, which makes all the difference--the proximity of countless bars, nightclubs, and prostitution houses would guarantee that a woman, even one as beautiful as Koronel, can pass by relatively unnoticed. Brocka decided to set "Insiang" in Tondo, near Smoky Mountain, presumably because he wanted the greater visual impact--drama, in effect, over authenticity.
The second flaw is more serious. The censors refused to accept that Insiang could be so unforgiving, so Brocka shot a coda in Bilibid prison, where Insiang clumsily explains to Tonya her plan of revenge, then, unbelievably, flings herself upon her mother to ask for forgiveness. The scene, redundant and obvious, is the only one in the entire film that actually descends into melodrama; worse, it makes total hash of all that came before, and flies in the face of the film's otherwise unflinching sensibilities.
Given the external pressure, one could almost understand the latter flaw; given the magnificent squalor captured by Baltazar's lenses, one could almost forgive the former--if only O'Hara had not recently adapted his own screenplay for the theater stage. As staged by Tanghalang Pilipino, the play corrects these two flaws: the first by setting the story in Pasay, as originally intended; the second by having Insiang repeat her clumsy final monologue and, simply by altering the tone of her delivery, transforming it into a devastating expression of utter hatred and contempt for her mother)
Post by: keng001 on Oct 16, 2002 at 10:33 PM
http://www.inq7.net/ent/2002/sep/30/ent_1-1.htm
Also, I found a review of Mga Munting Tinig (Small Voices) listed at www.mrqe.com. Its one of the films reviewed from the Toronto Film Fest. Didn't see one for Joel Lamangan's movie Hubog. I've been looking for any mention of the Filipino films entered at the festival from the U.S. magazines and this is the first one I've seen. Here's the review:
SMALL VOICES
Starring Alessandra de Rossi, Dexter Doria. Directed by Gil M Portes. 109 min. Contemporary World Cinema. Sep 10, 10pm, Varsity; Sep 13, 10am, Uptown.
Gil M. Portes' tale could teach the cast of Sister Act a thing or two. When the recently graduated Melinda (a blandly benign Alessandra de Rossi) comes to a remote Filipino province to teach at a one-room schoolhouse, she enters her students in a singing competition to combat corrupt teachers and the stigma attached to attending school. While Portes never strays too far into sentimentality, the predicate that song alone can solve these kids' problems is dubious at best. Monsoons, poverty and rebel violence don't just vanish in the face of music. JAMES CRAWFORD
Post by: kakabanas on Oct 16, 2002 at 11:30 PM
SMALL VOICES
Starring Alessandra de Rossi, Dexter Doria. Directed by Gil M Portes. 109 min. Contemporary World Cinema. Sep 10, 10pm, Varsity; Sep 13, 10am, Uptown.
Gil M. Portes' tale could teach the cast of Sister Act a thing or two. When the recently graduated Melinda (a blandly benign Alessandra de Rossi) comes to a remote Filipino province to teach at a one-room schoolhouse, she enters her students in a singing competition to combat corrupt teachers and the stigma attached to attending school. While Portes never strays too far into sentimentality, the predicate that song alone can solve these kids' problems is dubious at best. Monsoons, poverty and rebel violence don't just vanish in the face of music. JAMES CRAWFORD
Ouch !
I am just wondering, what branch of government or film academy selects what film should be sent to international film festivals ? What are the criteria to be sent to these festivals ? Who are the morons responsible for choosing bad movies to be seen by international audience like Sibak ? If we are sending all these stupid, pretentious, flaky movies, there's just no way we are going to get any attention at all. They get all those kind of movies in Hollywood anyways .. and they do it with style, gloss, and big names stars.
Post by: Noel_Vera on Oct 17, 2002 at 12:10 AM
That said, good luck to Portes. I haven't liked any of his films to date, and I'm afraid of being let down by this one too...though I will watch it.
Post by: kakabanas on Oct 17, 2002 at 03:38 AM
Well...I don't know what grates more, Portes' relentless self-promotion or this Crawford characters' condescending manner. What does HE know about rebel action, anyway?
That said, good luck to Portes. I haven't liked any of his films to date, and I'm afraid of being let down by this one too...though I will watch it.
Wait, didn't he direct Nora Aunor in Merika ? I thought that was one of her best performances ...
you didn't like that either ? You are hard to please man ..
8)
k
Post by: Noel_Vera on Oct 17, 2002 at 01:11 PM
Post by: kakabanas on Oct 17, 2002 at 11:27 PM
I haven't seen 'Merika. Heard it's one of his best works, though...let's see...
I don't really know any of his works.. maybe I have seen some of them but this one seems to be unforgettable. Otherwise, I wouldn't remember hahaha.
8)
k
Post by: Noel_Vera on Oct 19, 2002 at 03:27 AM
Post by: RMN on Oct 24, 2002 at 02:16 PM
I feel that the idea behind the ECP and the film fund could work if there is a way of making it a viable(and controversy free) venture. The Singapore Goverment just established recently a similar organization, The Singapore Film Commission.
Post by: Noel_Vera on Oct 24, 2002 at 06:42 PM
Post by: kakabanas on Oct 24, 2002 at 10:16 PM
I've talked to Singaporean filmmakers and that Commision they believe is a means of censoring and controlling them. ECP was a radically different entity--it actually got some unusual films made, mainly because Marcos wanted to look more liberal and because it was all slipping past his control. I don't know if you can replicate those conditions again...
Hmm, that makes sense. Considering they can't even show girl-to-girl kiss on Ally McBeal on TV in Singapore, this Commission is stinking like a fish.
As for ECP, I hope they bring it back and make quality films again that will showcase only the best in Philippine cinema here and in international film festivals.
Post by: Noel_Vera on Oct 25, 2002 at 01:10 PM
Noel Vera
Gil Portes' "Munting Tinig" (Small Voices) is about a teacher (Alessandra de Rossi) who arrives at a backwater town as substitute for the school's departing teacher, said substitute being not much older than the students themselves. Sounds familiar? Try Zhang Yimou's "Not One Less." One of her students is so poor he has to share his school uniform with his older brother, both taking turns wearing the uniform to class. Sounds familiar? Try Majid Majidi's "Children of Heaven." To raise morale and bring class and school together, the teacher enters her students in a contest (in this case a chorale singing competition), struggling to get the parents' approval where they are mainly interested in using their children as free labor. Sounds familiar? Try "Sister Act" and "Stand and Deliver." "Munting Tinig" was written by Adolf Alix Jr, Portes himself, and Senedy Que, who also rents out art films on various formats (he has a pretty good collection, too). One wonders if perhaps the writers dipped into Que's collection for ideas, and for inspiration whenever they were creatively stuck while writing the script.
It's perhaps not a fair assumption to make (even with evidence practically staring at you) and not a big deal even if true (Portes claims in one of his many press releases that the shared uniform is a true story); I just don't think it's a good sign when the audience plays a game of "where from?" with your movie. But what else can you do? The storytelling is, to put it kindly, erratic--the picture dwells on the extraneous (de Rossi listening to her landlady (Amy Austria) talk endlessly about her daughter (the recently departed teacher)), while skimping on the crucial (de Rossi waking up to learn that every parent has suddenly given their approval). The camera understates to the point of dullness (some scenes look flat enough for TV), but when approaching a dramatic climax, suddenly loses all shame (crying is done in long close-ups, to catch every falling drop). The jokes are lame--one older boy is kidded for falling in love with de Rossi, another suffers from an incurable case of farting mostly done in poor taste (which I don't mind) and not very funny (which I do). One subplot, about two brothers whose father (Noni Buencamino, excellent and underutilized as usual) joined the insurgency, has an unintentionally chilling effect in light of recent events: you wonder what they think about his belonging to a group that possibly plants bombs or kidnaps foreigners (it's almost the basis for a far more interesting film altogether).
This being a small-budgeted, small-scale film, characterization should play a crucial role; unfortunately it's mostly a hit-or-miss affair (a mostly miss-than-hit affair). De Rossi's teacher is the standard-issue stereotype of the noble educator, with a few off-key details: she comes to town hoping to do a bit of service and brings along (as symbol, probably unintentional, of her higher cultural and financial capabilities) her flute. She has inchoate ambitions about making a difference, but depends on the allowance her mother sends her to buy boxes of ice candy and the odd chorale costume (must be a generous-sized allowance there). And she's so damned passive--all she does through most of the film is walk around, eyes huge with indignation at the tremendous inadequacies of the Philippine educational system (what, doesn't she watch the evening news, or read the papers?). When she's not being shocked she's an open bucket, ready to receive every passing soul's two centavos' worth of wisdom and/or advice (Austria being her landlady dumps about a hundred pesos nightly).
The defect is all the more glaring when you realize just how easy it would have been to make de Rossi's character interesting--simply ask: what kind of person is crazy enough to want to become a schoolteacher? Worse, what kind of person is crazy enough to want to become a schoolteacher in the provinces? De Rossi's character could have been hiding some kind of inner inadequacy--a hunger to prove herself to her mother, maybe, or a driving need to live up to her father's idealism. She could initially come off as being too aggressive, or too strident, or too demanding; or, like the teacher in "Not One Less," totally indifferent to everything except the promise of extra money--anything to contrast with the eventual nobility. Even a villain would help; Dexter Doria shows some snap and bite early on, as the school supervisor who sells ice candy in her spare time, but by latter half of the picture her supervisor is as soggily supportive of de Rossi as the rest. Purely virtuous protagonists are the most difficult to dramatize; they need a tremendous amount of care and attention to detail to bring off convincingly, otherwise they end up looking like plaster saints. Portes with his casual, off-the-cuff approach fails, his audience fails to believe accordingly, and the film as a result fails to come to life.
Which is a pity. Education IS a pressing issue, the film DOES have its small-budgeted heart in the right place; and, watching it on its first night in the theaters, it's annoying to see just how few people actually bothered to go see it at all. I'm tempted to recommend the film anyway, for the abovementioned reasons and to give it a fighting chance to be seen; I just can't bring myself to recommend it in a very large voice, is all.
(Comments? Email me at [email protected])
Post by: Noel_Vera on Oct 27, 2002 at 01:08 AM
Post by: RMN on Oct 28, 2002 at 12:38 PM
Post by: Noel_Vera on Oct 28, 2002 at 10:27 PM
Post by: RMN on Nov 08, 2002 at 04:00 PM
Post by: Noel_Vera on Nov 09, 2002 at 12:42 PM
Post by: Noel_Vera on Nov 10, 2002 at 12:42 AM
Noel Vera
When we talk about the Golden Age of Philippine Cinema we often mean the '50s, with artists like Manuel Silos, Manuel Conde, Lamberto Avellana, and Gerardo de Leon, or (and more often) the '70s, with artists like Lino Brocka, Ishmael Bernal, Celso Ad. Castillo, Mario O'Hara, Mike de Leon.
The problem is that golden ages, like any other cultural and social movement, rarely follow calendar dates. The dawning of December 31, 1979 didn't mean the conditions and talents that created the great films of the '70s suddenly vanished--if anything, conditions persisted, and some of the artists from the previous decade did their best work in the next one.
Perhaps not in the case of Lino Brocka. Brocka in three incredible years, from 1974 to 1976, would direct the three greatest Filipino films in contemporary cinema: "Tinimbang Ka Ngunit Kulang" (You Were Weighed and Found Wanting, 1974), "Maynila sa Kuko ng Liwanag" (Manila in the Claws of Neon, 1975), and "Insiang" (1976). He would still be active in the '80s, but by about this time Brocka discovered politics, and (or so the theory goes) it ended his career as an artist. "Bayan Ko" (My Country, 1985), and "Orapronobis" (Fight for Us, 1989) are not much more than political agitprop; excellently made and highly effective agitprop, but compared to something like "Insiang," which criticizes Philippine society in a subtler, more complex, more dramatically intense level...
Ishmael Bernal, on the other hand, would sound off the start of the decade with his masterpiece, the epic "Manila By Night" (1980). The film has aged a little; visually it has nothing on Brocka's "Maynila Sa Kuko" (brilliantly shot by Mike de Leon), and the city onscreen looks actually cleaner and more livable than it is today. But the sheer nastiness of the characters, the corrosive nature of life in Bernal's underworld, the overall nihilism of the work--tempered by the artist's unnervingly cool distance towards his material--is still a wonder to behold.
Bernal was active for the remainder of the decade. His '80s output--in terms of range, variety, overall quality--rivaled (some would say bested) Brocka's: the hallucinogenic "Himala" (Miracle, 1981); the sparely realist "Relasyon" (Relationship, 1982); the painfully honest "Broken Marriage" (1983); the quiet, intense "Hinugot sa Langit" (Wrenched from Heaven, 1985--incidentally, one of the finest films ever about abortion).
One filmmaker who came into his own in the '80s is Mike de Leon. In the mid-'70s he was both producer and cinematographer of Brocka's "Maynila sa Kuko;" he also directed the memorably gothic "Itim" (Black, 1976). From 1980 to 1982, however, he made a trilogy of films that many consider his best work: "Kakabakaba Ka Ba?" (Worried? 1980), "Kisapmata" (Blink of an Eye, 1981) and "Batch '81" (1982). "Kakabakaba" is sophisticated satire (perhaps too sophisticated) with a distinctively designed look. "Kisapmata" is a simple horror story about a pregnant daughter and her overbearing father but one so powerfully made (I think it's the best film he's ever done) it became a metaphor for many things: the Marcos dictatorship; the oppressive dominance of men; and de Leon's own dark, twisted sensibilities. "Batch '81," about school fraternities, is more clearly an allegory on fascism; if it's a step down from "Kisapmata," that may be because it's difficult to improve on a great and perfect film.
De Leon would go on to make the overrated "Sister Stella L." (1984), his one nod to fashionable liberal politics, and the underrated "Hindi Nahahati ang Langit" (The Heavens Indivisible, 1985), his one fascinatingly subversive attempt at adapting "komiks" material (about a young man and his unaccountably intense attraction to his half-sister) to the big screen.
Mario O'Hara, like Bernal and Brocka before him, would make his "Manila" movie--three of them: "Condemned" (1984); "Bulaklak ng City Jail" (Flowers of the City Jail, 1985), and "Bagong Hari" (The New King, 1986). O'Hara's "Manila Trilogy" represents a range of genres (from noir to drama to action) and social milieu (from street hustlers to women convicts to an alternate-reality vision of Manila) that few Filipino filmmakers have even approached in terms of sweep and intensity.
Finally, the '80s were nothing if not the Golden Age of the Filipino "bold" film. These were erotic films that, for one reason or another, the Marcos dictatorship had allowed to be made--had, in fact, encouraged, through funding from the Experimental Cinema of the Philippines, and through uncut screenings at Imelda Marcos' Manila Film Center. The rational? Who knows? Perhaps the Marcoses were too engrossed in other troubles (the Aquino assassination; the devaluation of the peso; the swelling opposition movement). Perhaps they wanted to show the world that they were more liberalized, more enlightened. Perhaps they encouraged sex flicks to distract the general public--a kind of desperate bid to give them what they want, "bread and circuses" style.
Whatever the underlying cause, the effect is a blooming of erotic flesh, photographed in a variety of storytelling styles, often by newcomers to the industry who are either doing their debut features, or have done them not too long ago. Of the better ones I might cite Abbo de la Cruz's "Misteryo sa Tuwa" (Joyful Mystery, 1984) a somewhat sadistic fable on the evils of money; Chito Rono's "Private Show" (1986), a noir on live-sex performers; and William Pascual's "Takaw Tukso" (Temptation, 1986), a Bergmanesque chamber piece written by Armando Lao. Three others I would consider not just the three best Filipino erotic films ever made but three among the '80s' best: Tikoy Aguiluz's "Boatman" (1984), also about live-sex performers, but with Aguiluz's unique documentary style; Peque Gallaga's "Scorpio Nights," a no-holes-barred film about a student screwing his downstairs neighbor's wife; and Laurice Guillen's "Init sa Magdamag" (Midnight Passion 1985, script by Racquel Villavicencio), about a woman drawn, willingly or unwillingly we aren't sure, into a sadomasochistic relationship.
Mention should be made of an extraordinary debut that was neither erotic nor mainstream; it wasn't even a full-length feature. "Ang Magpakailanman" (The Eternity, 1983) is a twenty-minute short written, directed, and photographed by Raymond Red, about a mysterious book of the same title and the young man searching for it. The film has more wit, originality, and visual imagination than a dozen lesser Filipino features; and though Red will eventually do what Brocka, Bernal, and de Leon failed to do--become the first Filipino to win the Palme d'Or in Cannes with his short "Anino" (Shadows, 2000)--this remains his real masterpiece.
A final note: two films stand out amongst an amazing array of greats and near-greats--Gallaga's "Scorpio Nights" and O'Hara's "Bagong Hari." Both expressed the nihilism and despair of the Filipino people in the waning Marcos era--"Scorpio Nights" with its breathtakingly death-defying sex, "Bagong Hari" with its relentlessly violent depictions of death. Both, literally, were the last words on the last years of the Marcos era; there's an almost terminal aura about them, as if anything more said--on sex, on violence, on everything in between--would only be redundant. With impeccable timing, the month after "Bagong Hari" closed on its opening day on January, 1986 (it was a commercial disaster), the EDSA Revolution overthrew the Marcos dictatorship--making "Bagong Hari" the last great film of the '80s, and (arguably) of the "'70s Golden Age of Philippine Cinema."
After February 1986--nothing; literally nothing. Marcos' successor, President Corazon Aquino, was no friend--not even a good influence--on the local film industry (there's joke going around that Aquino's two great contributions to Philippine cinema was Censors chief and moral hypocrite "Manoling" Morato and her appallingly untalented aspiring-actress daughter, Kris Aquino). The only significant Filipino production made from 1987 to 1989, in fact, was Lino Brocka's "Orapronobis"--which was made with French money and which accuses Aquino of being even worse than Marcos, the way a weak leader with little or no control over her administration is worse than a dictator. It wouldn't be until 1995--nine long years--that anything even resembling a recovery would appear in the distance.
(Comments? Email me at [email protected])
Post by: sidney on Nov 11, 2002 at 12:32 PM
Alma Moreno's launching movie was LIGAW NA BULAKLAK directed by Ishmael Bernal. She was one of the seven bold stars introduced by Jesse Ejercito during the 70's. The others were Elizabeth Oropesa, Daria Ramirez, Chanda Romero, Beth Bautista, Amy Austria and Lorna Tolentino. All bold stars that all turned out to be fine actesses. Well, except for Alma Moreno. :(Alma Moreno was also did a great job in "Basag" and Buhay ako sa ilalim ikaw sa ibabaw w/ Amalia Fuentes. ;)
Post by: sidney on Nov 11, 2002 at 12:44 PM
Atsay
Bona
Tatlong Taong Walang Diyos
Bilangin Mo Ang Mga Bituin Sa Langit
Himala and Super G.
My Favorite Vilma movies are:
Burlesk Queen
Tag Ulan Sa Tag Araw
Kampanerang Kuba
Anak
Sinasamba Kita
and her Darna series
Alma Films
Ligaw na Bulaklak
Bomba Star
Manila By Night
Basag
Bundok Ng Susong Dalaga
Buhay Ako Sa Ilalim Ikaw Sa Ibabaw
I also love
Gina Alajar's -Salome
Amy Austria's- Brutal
Charo Santos- Itim
Susan Roses- Gumising Ka Maruja
Amalia Fuentes- Ang Isinumpa
Edna Luna's Dyesebel :D
Post by: sidney on Nov 11, 2002 at 12:51 PM
And Oro Plata Mata.
Post by: Noel_Vera on Nov 11, 2002 at 09:41 PM
You didn't like Mga Bilanggong Birhen, Sidney?
Post by: Fantômas on Nov 13, 2002 at 01:23 AM
However, the concept of "artistic" movies, in opposition to other movies made "only for entertainment" being only that - a cocept -, in fact I think that EVERY film ever produced must be preserved for posterity.
We have a perfect example of that with French cinema. Of course, it's always pleasing to watch again and again some masterpieces as "Children of Paradise" and others, but in fact many French films, considered as only "watchables" at the time of their original release, are now totally re-revaluated and we can be happy that somebody took care of these "inferior" productions, years ago...
Henri Langlois, the co-founder of the Cinémathèque Française, once told me that EVERY film must be salvaged, not just some chosen by elitist critics. So, I hope to read articles on "popular" pinoy movies as well, such as the "Darna" series, the horror films, comedies, etc.
It's incredibly difficult to obtain precise informations about those films, even in the Philippines apparently. Has anybody written a complete catalogue of Pinoy movies, for intance, with cast/crew credits and synopsis for EACH film ever produced ? even in Turkey, that kind of books exist, so why not in the Philippines, one of the most important countries when we speak of movies !?
Post by: RMN on Nov 13, 2002 at 11:15 AM
Post by: Noel_Vera on Nov 13, 2002 at 11:52 PM
O'Hara wrote Insiang. If you've seen that, you've seen one of his best screenplays. He also wrote Tinimbang.
Do you have Skycable? On Cinema One (I buy Skyguide every month, someone linked to a place to download their sked once, but I haven't really gone into it) you see some. Condemned is shown once in a while, also Tatlong Taong Walang Diyos, and Babae sa Bubungang Lata, which I like very much.
Also Halimaw sa Banga, Mga Bilanggong Birhen, Tatlong Ina, Isang Anak, The Fatima Buen Story, Johnny Tinoso and the Proud Beauty (all flawed but interesting) and I hear, I haven't seen, Prinsesang Gusgusin. Also Takot Ako Eh, To Mama With Love, and Manananggal in Manila, which aren't very good.
Fantomas--
You open many a can of worms, my friend.
I DO believe a lot of popular films are being neglected. Joey Gosengfiao's films and Elwood Perez's. The Darna and the Giants film was fun. Gosengfiao's Temptation Island, let me tell you, is stranger than anything you'll find in Pedro Almodovar--and he did it in the '70s.
Nowadays worth watching popular flicks would be Joyce Bernal's. Romantic comedies, light, but well made.
Post by: pinoymovies on Nov 14, 2002 at 08:26 AM
Sadly, I am not familiar and have not seen any of Mario O Hara's films (though I remember him in Tinimbang). When will I ever get to see his works?
Here are some of the movies that Mario O'Hara directed that are available at www.regalfilms.com on VHS or VCD:
Sisa (http://www.regalfilms.com/store/9905018)
Babae sa Bubungang Lata (http://www.regalfilms.com/store/9902004VCD)
Pangarap ng Puso (http://www.regalfilms.com/store/VCD200010110)
The Fatima Buen Story (http://www.regalfilms.com/store/6871094)
I wish Regal Films would make a available on DVD the Mario O'hara helmed Kastilyong Buhanging with Nora and Lito Lapid. That was produced by Regal Films.
Edited to correct the title as pointed out by Noel on the next post.
Post by: Noel_Vera on Nov 14, 2002 at 12:35 PM
And be careful of the summary! It's all spoilers.
I would recommend Bubungang Lata and Fatima Buen highly. Pangarap and Sisa I think are even better--are perhaps great (I prefer them over Batang West Side), but not everyone is going to like them.
Post by: RMN on Nov 14, 2002 at 03:26 PM
Too bad we no longer hsve cinema one...
Post by: Noel_Vera on Nov 14, 2002 at 11:23 PM
Post by: Noel_Vera on Nov 15, 2002 at 02:03 AM
Post by: xage on Nov 15, 2002 at 07:11 AM
Coz most I saw are just plain cheesy plots....
Mixed with nonsense humor and as in cheesy Special effects... kinda like B direct to video movies made in US
Post by: pinoymovies on Nov 15, 2002 at 10:32 AM
"You're a rich guy anyway"
Funny, FLIM!
"Add a commentarybetween you and Mario Hernando"
That would be too one-sided. Like that dogfighting bulldog in that Mark Twain story who liked to grab the enemy's hind legs--when he faced an opponent that had lost its hind legs, he was lost...
Noel, I was re-reading your interview with Mario O'hara and it reminded of this post. From that interview alone, you have plenty of materials for a DVD commentary. When you asked Mario O'hara how he got Tatlong Taong Walang Diyos and went on discussing other details about certain scenes, I thought, this is perfect for a DVD Commentary.
When you asked Mario about the scene where the women circle Nora, cutting off her hair and Mario replied where he got the idea, I wish I could see that scene right there as I was reading it. That's why DVD commentary is so popular. I posted the excerpts at my website so if anyone is interested they can read it here. (http://www.geocities.com/pinoymovies/tatlongveraarticle.html)
You should do more interviews like this. It may not make it to a DVD commentary but at least we can read it.
Quote
pinoymovies, checked out the Regal website, great database, thanks (Fantomas should see it). I noticed the VHS are more expensive. Is the picture quality better than in the VCDs?
Well, I quit buying VHS's awhile back. The last one I bought was an old movie, Bernal's Manila By Night, so the picture's not too good and its missing the credits. You should read the posts comparing VCDs and DVDs.
Post by: RMN on Nov 15, 2002 at 03:08 PM
You should change your cable provider. Cinema One is the only reason I stuck to Skycable. It has practically all the great films of the 70s, and some amazing obscure chocies. Temptation Island, Salawahan, Darna and the Giants, the ORIGINAL Tag Ulan sa Tag Init...
I think its sad if not unfair that you have to be a subscriber of either Sky or Home to see all these classic Filipino films on Cinema One (which I enjoyed a lot when we still had it)? Why won't ABS-CBN release their vast film library of cinema classics (they've been snapping up a lot of movies these past few years )on video?
Post by: Noel_Vera on Nov 16, 2002 at 12:39 AM
Did you know Cinema One is Sky's most consistently popular channel? More than MTV, or HBO, or Star World OR movies? True.
Post by: Noel_Vera on Nov 16, 2002 at 01:06 AM
It's two hours worth of excuses to peek at Rica and Maui's silicon boobs through various layers of gauze, and from various angles, is all. The psychology is ridiculous, the dialogue terrible, the acting awful (Rica and Maui sound like Assumptionistas vacationing in Antipolo). The cinematography, which is well done, only makes the bad acting and bad dialogue stand out--looks great, sounds awful!
The last twenty minutes, though, are worth the price of the ticket--that is one of the funniest endings I've ever seen--and I love that Ever-Burning Nipa Hut: can flame for twenty minutes and still have enough heat to consume Ricky Davao!
Good camp fun. Bring tomatoes.
Post by: Noel_Vera on Nov 16, 2002 at 02:58 AM
Poor Ricky Davao--after giving a great performance in Ruel Vernal's role in the theater version of Insiang, he has to go and do this! Maybe when I see him I'll ask him how it was...
Post by: RMN on Nov 18, 2002 at 04:16 PM
Local movie stars as movie producers...
During the collapse of the studio era, a lot of our big movie stars established their own film production outfits. FPJ, of course, set-up FPJ Productions and Jafer, Erap had JE, and Dolphy RVQ. Later on came Nora's NV, Vilma's VS Films while Nino Mulach also had his own production outfit.
VS Films went bankrupt due to a variety of reasons which, unfortunately, caused Vilma to loose everything inculding her Magallanes Village home. It turns out, Vilma not only starred in but also produced Pagputi ang uwak, pag-itim ng tagak by Celso ad Castillo. The film was beset by so many delays that her funds started to dry-up. Another reason for her company's unraveling was that she was too trusting and was duped by a lot of people (there were times, she said, that the film reels contained nothing).
(there are other stars who established their own outfits perhaps their others who can add to this list incomplete list)
Post by: Lex Luthor on Nov 18, 2002 at 04:22 PM
Hibla
It's two hours worth of excuses to peek at Rica and Maui's silicon boobs through various layers of gauze, and from various angles, is all. The psychology is ridiculous, the dialogue terrible, the acting awful (Rica and Maui sound like Assumptionistas vacationing in Antipolo). The cinematography, which is well done, only makes the bad acting and bad dialogue stand out--looks great, sounds awful!
The last twenty minutes, though, are worth the price of the ticket--that is one of the funniest endings I've ever seen--and I love that Ever-Burning Nipa Hut: can flame for twenty minutes and still have enough heat to consume Ricky Davao!
Good camp fun. Bring tomatoes.
Hahaha. no words could be more fitting... ;D
Post by: Centurion Obama on Nov 18, 2002 at 04:23 PM
Post by: Noel_Vera on Nov 19, 2002 at 02:09 AM
Post by: sidney on Nov 20, 2002 at 04:47 PM
You should change your cable provider. Cinema One is the only reason I stuck to Skycable. It has practically all the great films of the 70s, and some amazing obscure chocies. Temptation Island, Salawahan, Darna and the Giants, the ORIGINAL Tag Ulan sa Tag Init...
I love Pilipino movies, sayang at mahirap ng hanapin ang mga ito. Here's a list of my pinoy movie collection on vhs ( not recorded on TV).
Salome, Ina ka Ng Anak mo, Maynila Sa Kuko ng Liwanag, Burlesk Queen (Vilma) , Gumising Ka Maruja, Bomba Star, 8 Darna films, 4 Dyesebel films, Pag Puti ng Uwak, Pag Itim Ng Tagak, Relasyon, Ina, Kapatid, Anak, Tag Ulan Sa Tag Araw (Vilma) Himala, Ina Ka Ng Anak Mo, Bundok Ng Susong Dalaga, Step Sisters, Diary Of Cristina Gaston, Batya't Palo-Palo, 3 Mukha Ni Rosa Vilma, Ang Kampanerang Kuba, Mrs Eva Fonda 16, Disgrasyada (Rio Locsin) PX, Angela Markado, Karma, Inagaw mo Ang Lahat Sa Akin, Kaya Kung Abutin Ang Langit, Teptation Island, Katawang Alabok, Sharon Cuneta films, Kung Kasalanan man, Gumapang Ka Sa Lusak, Haplos, Diosa, Diyosa (Rita Gomez) Si Gemma Ang Babaeng Kidlat ( Evangeline Pasqual) Lagi Na Lamang Ba Akong Babae, Waikiki, Ang Kambal Sa Uma, Langis At Tubig, Adultery: Aida Macaraeg, Young Love (NORA, Vilma) Pinay American Style, Ang Panday (Animated version) Teen Age Marriage, Biktima( Vilma Santos) Beba The Mermaid ( Lotis Key) King Kiam And I, Magandang Gabi Sa Inyong Lahat, Roma Amor, Malikot, Magkaribal, Itim. And more.
Insiang
:)
Post by: sidney on Nov 20, 2002 at 04:54 PM
Bomba Star was fun.
You didn't like Mga Bilanggong Birhen, Sidney?
Hindi ko napanood ang " Mga Bilangong Birhen" sayang.
Post by: RMN on Nov 20, 2002 at 05:55 PM
Post by: Noel_Vera on Nov 20, 2002 at 09:22 PM
I got a really crazy story about the making of that movie--well, two. But if I tell them, I prolly won't live long... ;D
Do you have the following--
Bona
Bakit Bughaw Ang Langit (1981)
Gaano Ko Ikaw Kamahal? (1982)
Ibulong Mo Sa Puso (1983)
Uhaw na Pag-ibig (1983)
Prinsesang Gusgusin (1986)
Post by: sidney on Nov 21, 2002 at 12:32 AM
Are your VHS tapes still in good condition? You hav esome pretty good movies.
Yes, most of them are original copies. I used to have boxes of movies tv shows, kaya lang wala na akong space for all of them at ipinamigay ko na yong iba. As of now hindi na ako masyadong nag co-collect ng movies yon na lang mga favorites ko noong bata pa ako ang mga hinahanap ko. Ang bahay kasi namin noon sa Pilipinas katabi lang ng sinehan kaya i grew up watching pilipino films like Sa Bawat Himaymay ng Aking Laman, Dahil Sa Isang Bulaklak, Pigilin mo ang Pag patak ng Ulan, Dalawang Ibon Sa Iisang Pugad, Ang Lihim Ng Guada Lupe, Lipad ,Darna, Lipad! Atsay, Brutal, Batch 81, Pag Sapit Ng Dilim. Maganda sana kung mag karoon video club ang group na ito or archive na exclusive members lang ang makakahiram ( At Dapat i return on time ang mga tapes) makakapanood ng movies or someone will host a get together for all the members para sa private screening ng movies. By the way naipapalabas pa ba yong movie ni Pinky Montilla na "Supergirl? Iam dying to see that one again. ;)
Post by: sidney on Nov 21, 2002 at 12:56 AM
Bilanggong Birhen is a pretty good, maybe near great flawed film.
I got a really crazy story about the making of that movie--well, two. But if I tell them, I prolly won't live long... ;D
Do you have the following--
Bona
Bakit Bughaw Ang Langit (1981)
Gaano Ko Ikaw Kamahal? (1982)
Ibulong Mo Sa Puso (1983)
Uhaw na Pag-ibig (1983)
Prinsesang Gusgusin (1986)
Noel, I used to have that Nora, Dennis Roldan " Bakit Bughaw Ang Langit? " na Original pa ang copy , may humiram at di na ibinalik :'( Hindi bale black listed na sya.
Yong Bona wala ako eh, I think a friend of mine who is a big Nora fan has it .Ibulong Mo Sa Puso, yon ba yong kay Vilma na bulag sya, na ginawa nya sa Seiko films? If that's the one? I have that somewhere. Uhaw na pag Ibig wala ako noon hindi ko yata napanood.
Prinsesang Gusgusin, wala ako nyan but, i think available pa ito sa Regal videos. By the way Iam thinking of building a web site about Vilma kaya lang wala I dont have a lot of pictures of her .
Post by: Noel_Vera on Nov 21, 2002 at 02:35 AM
And I believe Uhaw na PagIbig was a Claudia Zobel film.
"Bakit Bughaw"
Huwag mong i-blacklist yung friend mo. Ipapatay mo na lang, then get the tape back. That's one of the last existing copies of the film. Wala nang print, wala nang video, walang wala na...
Post by: sidney on Nov 21, 2002 at 03:40 AM
I think Ibulong Mo sa Puso stars Gloria Romero or Amalia Fuentes. I could be wrong."Bakit Bughaw" Sayang at hindi na pala available ang movie na ito . Yong Bona kung natatandaan mo way back in the 80's noong mag karoon ng Manila International Film Festival maraming mga vintage moviea ang nai pag bili sa ibang bansa tulad ng Bona ang original print yata nito ay nasa Canada, at yong mga Dyesebel films ay naipag bili din ano pa ba someone told me yong Darna ni Gina Pareno ay nasa Indonesia pati rin yong kay Vilma na Lipad... wala na ring video o print sa Manila. Yong Burlesk Queen, nasunog daw ang original print nito. I have a friend sa Manila na may access sa Premiere na kalilipat lang ng bodega nila sa Malabon told me na marami pa ang mga itong movies at doon sya nakakuha ng Ging, ni Vilma, mahigpit na nga lang daw ang mga ito ngayon at they are converting their movies sa vhs kasi yong iba ay nasa lata pa. A long time ago i paid $50.00 sa isang movie na nasa pag iingat ng premiere na pina transfer ko pa sa vhs. Ang Sampaguita available na ulit ang mga movies nila for sale. Uhaw sa pag ibig, i dont have that one kasi. Hindi ba at si susan R. ang original na prinsesang gusgusin? By the way do you have Patayin mo sa Sindak si Barbara ni Susan?
And I believe Uhaw na PagIbig was a Claudia Zobel film.
"Bakit Bughaw"
Huwag mong i-blacklist yung friend mo. Ipapatay mo na lang, then get the tape back. That's one of the last existing copies of the film. Wala nang print, wala nang video, walang wala na...
Post by: Noel_Vera on Nov 21, 2002 at 11:13 PM
You might want to check with your friend, but what is in that Bodega is probably what's left of Premiere's films. From all accounts, a huge number of their prints are gone. Some survive, and that's probably what's left.
Dyesebel, you say? The Gerry de Leon version? The French would love to know about that...
Post by: Noel_Vera on Nov 23, 2002 at 02:33 AM
Defintely better told than Hibla, technically smoother than Gamitan. I prefer Gamitan, though--at least it shows something of the filmmaker's personality.
Yep, Star Cinema did it again--one of its "android" directors (Not my term! Kapwa niyang filmmaker!) goes and makes yet another "assembly-line product" (again, not my term). Script again written by committee--as noted by one of the people who actually wrote the script (this wasn't what he/she originally wrote, ang daming binago, etc., etc. I believe him/her--he/she's too smart to make the kind of storytelling mistakes this movie makes...).
It's a tired premise, for starters--boy goes to provinces ready to get married, falls in love again with its many charms (incarnated in his bride-to-be's sister), turns his back on the city/world in general (Reese Witherspoon plays a female version of Aga in Sweet Home Alabama). Simplistic rural over urban/Pinoy over American dichotomy.
The details aren't helpful either. On the bra issue--it IS distracting, and judging from the audience reaction, it's the main reason most of the men went to watch. There's a difference between filming a girl without wearing a bra and filming a girl to EMPHASIZE she's not wearing a bra--I'd say the filmmaker used all kinds of gimmicks (bending over, backlighting, garden hose, freaking beach scene, my god...) to emphasize the fact that, yes Claudine Is Not Wearing a Bra. So no, it's not just prurient imagination; it's prurient imagination constantly being encouraged by the filmmakers.
And it still doesn't make sense--granted she's a rebel and refuses to wear a bra--that would be a constant topic around the house but it isn't. At one point Claudine weares sleeveless and Johnny Delgado makes a cutting remark; but she spends hours with her breasts bouncing about, and with Aga as companion, and no comment from anyone?!
Have her not wear a bra, fine, but this needs serious explaining, especially in context of where and who she is (young girl in a Bicol town), and integration into her character as a whole. The way I read her, she'd be highly motivated NOT to not wear a bra--she's already in trouble, she wants to hide in the background, not flaunt her defiance, both of them...
The twist involving Jericho as an NPA soldier is good; I imagine that's what the writers were really interested in, as the point where hidden depths are revealed in Claudine's character, and interest turns into love. Fine. But nothing conclusive happens to Jericho; he runs off with half a dozen goons in hot pursuit, and it's remarked in a casual line that he escaped! So much for Jericho, who probably had a stopwatch all the time he was on the set, and left the second the watch hit the five-minute mark.
Again, Aga meeting his father is a good twist...but the soul searching Aga makes with regards to his dad is more wearying than convincing, and in the end, the dad is dripped as quickly as the NPA soldier. Apparently, the actor playing the dad (Dante Rivero, di ba?) also has a stopwatch.
The lovemaking is boring. After holding back for so long, all they can do is tentatively peck at each other? It should be a wrestling match, practically rape except it's mutual, and the hay should fly...
Aga is, as usual, prettier than any of the women in the film, including Claudine. I can't believe he's actually capable of growing a beard. Is that prosthetic or something?
Saw a remark that Claudine at 23 is already better than Vilma, Nora, etc., etc. I may be mistaken, but Nora at 23 had produced and acted in Tatlong Taong Walang Diyos. Claudine is okay, but by no violent stretch of anyone's wildest imagination is she even remotely close to touching Nora's performance in that film...
Nitpicks, most of the above, I'll admit, and easy to forgive...problem is, as I've said, the premise is so tired and the direction so uninspiring, so nitpicking is the only thing keeping me awake throughout this movie. Another Star Cinema mediocrity.
Post by: rse on Nov 23, 2002 at 03:55 AM
Post by: rse on Nov 23, 2002 at 04:17 AM
http://www.geocities.com/sampaguita_pictures/p3.html .
They have quite a number of old movies. I'm planning to order some videos from them but I don't know most of the titles in the list. Has any of you have any recommendations?
Post by: Noel_Vera on Nov 24, 2002 at 03:13 AM
Post by: rse on Nov 24, 2002 at 04:35 AM
Post by: Noel_Vera on Nov 24, 2002 at 04:54 AM
Post by: pinoymovies on Nov 26, 2002 at 09:32 AM
I have visited their site at:
http://www.geocities.com/sampaguita_pictures/p3.html .
They have quite a number of old movies. I'm planning to order some videos from them but I don't know most of the titles in the list. Has any of you have any recommendations?
I don't think Sampaguita Pictures was known for what we may consider 'prestige' movies. Their movies are more of the 'for the fans' type. Very entertaining and fun to watch. So if you are a fan of Nora Aunor or from the era of Susan Roces and Amalia Fuentes, you'll enjoy watching these old movies. I've ordered a couple of Nora movies, just to relive the good old days. :)
I believe the production companies that produced serious and artistic movies in the past were LVN Pictures and Premiere Productions.
Post by: keng001 on Nov 27, 2002 at 04:05 PM
Source: http://www.hollywoodreporter.com/hollywoodreporter/reviews/article_display.jsp?vnu_content_id=1761278
Small Voices
Nov. 13, 2002
By Marilyn Moss
Teamwork Prods.
The earnest "Small Voices," the Philippines' official submission for the foreign language Oscar and Golden Globe, also carries with it big hopes of U.S. distribution. If we haven't yet tired of the familiar genre of "poor kids can dream and win," the film stands a chance of gaining favor here. "Voices" pumps enough sentiment and charm into these overused conventions to leave a lasting impression.
Most of the film's good fortune rests with director Gil M. Portes' close-ups of his translucent star, Alessandra de Rossi. She plays Melinda, a dedicated young schoolteacher who travels to students in the remote, impoverished province of Malawig. Portes' camera catches de Rossi in sparse, beautifully lit images as she takes in the poverty of the province and reacts to the bad fortune of its inhabitants.
Melinda is as tentative and humble as the village families she meets. Life there is severely limited, and the kids grow up knowing they'll end up poor farmers just like the generation before. When Melinda learns of a singing competition, she persuades the families to let their kids enter. Competition is a foreign notion to these people, and just as predictable as it sounds, the singing comes to symbolize the kids' hope they can find in their lives a kind of antidote to determinism.
Cinematographer Ely Cruz's engaging shots of the lush landscape together with the hopefulness that often crosses de Rossi's face help "Voices" overcome some used story conventions to give it a very specific charm of its own.
Post by: RMN on Nov 27, 2002 at 07:01 PM
I inquired about their films as well but the prices were quoted in dollars!... :(I have visited their site at:
http://www.geocities.com/sampaguita_pictures/p3.html .
They have quite a number of old movies. I'm planning to order some videos from them but I don't know most of the titles in the list. Has any of you have any recommendations?
Post by: Centurion Obama on Nov 29, 2002 at 10:05 AM
Post by: keng001 on Nov 29, 2002 at 12:56 PM
Post by: RMN on Nov 29, 2002 at 03:49 PM
Post by: pinoymovies on Nov 29, 2002 at 04:16 PM
By the way I am thinking of building a web site about Vilma kaya lang wala I dont have a lot of pictures of her.
Get the website started and I'm sure there's a lot of Vilmanians that will send you pictures and materials. I didn't have much when I started my Nora website but I keep getting materials by email.
Quote
Local movie stars as movie producers...
During the collapse of the studio era, a lot of our big movie stars established their own film production outfits. FPJ, of course, set-up FPJ Productions and Jafer, Erap had JE, and Dolphy RVQ. Later on came Nora's NV, Vilma's VS Films while Nino Mulach also had his own production outfit.
...(there are other stars who established their own outfits perhaps their others who can add to this list incomplete list)
Here's a few that I can remember:
Susan Roces - Rosas Productions
Amalia Fuentes - AM Productions
Ramon Revilla Sr. - Imus Pictures
Most of today's stars invest in restaurants, botiques but not too many are interested in movie productions anymore.
Post by: Noel_Vera on Nov 29, 2002 at 06:10 PM
Keng, could you post the Variety review of Batang West Side? It's not the one calling it a classic or great film is it?
Post by: keng001 on Nov 30, 2002 at 04:15 AM
3rd World Hero (Bayaning Third World)
(Philippines)
A Cinema Artist Philippines production. Produced by Mike de Leon. Directed by Mike de Leon. Reviewed on videocassette, L.A., Nov 2, 2002 (In Vancouver Film Festival - Dragons & Tigers) Running Time: 93 min.
By Scott Foundas
Who was Jose Rizal? Hero? Coward? Traitor? Revolutionary? Perhaps a combination of these things? Such questions are teasingly posed, but never quite answered by Mike de Leon's "3rd World Hero," despite the many dramatized scenes from Rizal's life that give pic at least the outward appearance of a conventional screen biography. But it is the suggestion of this most playful and jaunty of biopics that such questions may lie beyond cinema's ability to answer. Made three years ago, but only just now receiving its North American premiere, this smart, stylish deconstruction merits the attention of fest programmers to look past the 1999 copyright date.
Controversial for the strong secular and democratic opinions expressed in his novels at a time when the Philippines was under the colonial rule of Catholic Spain, Rizal was executed by a Spanish firing squad in 1896, only to subsequently be invoked as a revolutionary martyr and the official national hero of the Philippines. But there are many conflicting accounts of Rizal's final days, months and years.
De Leon's way into story tells the tale of two contemporary filmmakers attempting a project about Rizal, and running aground at every turn as they search for a compromise between truth and legend. That Rizal's life isn't "cinematic" enough is a constant refrain; there is even mention of a silent film that documented his execution, but omitted any further details from his life for fear of boring the audience.
Certainly, boredom in one thing no one can accuse of de Leon and his co-screenwriter, Clodualdo del Mundo Jr., who have fashioned a movie alive with ideas and imagination. Pic jumps back and forth in time, with the filmakers (Ricky Davao and Chris Villanueva) interviewing Rizal's sister Trining (Rio Locsin), brother Paciano (Jonee Gamboa) and Irish wife Josephine (Lara Fabregas), trying to set straight the facts of Rizal's life and death, trying to determine the shape the film will take. Did Rizal, for example, actually retracts the views expressed in his novels so as to be forgiven by the Church? If so, was this only so he could marry Josephine? Or was Josephine herself merely a golddigger who didn't love Rizal nearly as much as she loved his celebrity?
The versions of events don't quite gel, because everyone who had a vested interest in Rizal's live now has a vested interest in his legacy. Like George Hickenlooper's "The Man from Elysian Fields," "3rd World Hero" is slyly aware of the fact that when an artist dies, he doesn't really die. And things, become no less complicated when the filmmakers finally confront Rizal himself (well-played by Joel Torre).
De Leon's touch is light and lilting, and 3rd World Hero builds a fantastic energy as it swoops from one fragmented clue to the next on its serpentine quest for elusive - and potentially non-extant - truth. Pic is atmosperically lensed in black-and-white by Ding Achacoso, with crack editing by Armando Jarlego.
Post by: Noel_Vera on Dec 01, 2002 at 12:15 AM
Bayaning Third World pala! Sowee...
Post by: ßartmaniac on Dec 08, 2002 at 05:43 AM
(http://store3.yimg.com/I/pilipinosuperstore_1719_462134503)
One Hundred Acclaimed Tagalog Movies (http://store.yahoo.com/cgi-bin/clink?pilipinosuperstore+HvacWM+100actagmov.html)
by: Mel Tobias
One Hundred Acclaimed Tagalog Movies (http://store.yahoo.com/cgi-bin/clink?pilipinosuperstore+HvacWM+100actagmov.html)
by: Mel Tobias
Some films you may not have seen or even heard about. The more familiar movies will inspire a voyage of discovery about the Philippine cinema- the directors, the stars, the stories and the intrigues. 100 Acclaimed Tagalog Movies presents poignant and entertaining reviews of classic Philippine films. Many of them have achieved cult-status. Film enthusiasts, and other readers curious about the history and growth of Asian and Philippine cinema, will find this book an excellent reference and guide.
Post by: pinoymovies on Dec 08, 2002 at 06:43 AM
Hey can you help me find the book THE URIAN ANTHOLOGY? I tried looking for that one too and so far no luck. Thanks again.
Post by: ßartmaniac on Dec 08, 2002 at 06:50 AM
I found another title that might be of interest to you:
(http://www.koleksyon.com/images/full/books/dela_salle/dlsp-6.jpg)
Notes On Philippine Cinema (http://www.philbooks.com/itemdetail.asp?prid=2541)
by: Emmanuel A. Reyes
Notes On Philippine Cinema (http://www.philbooks.com/itemdetail.asp?prid=2541)
by: Emmanuel A. Reyes
The aim of this book is to examine Philippine cinema for what it is rather than what is has failed to become. It is tempting to be derogatory when one speaks about Filipino or Tagalog movies. But there is nothing to gain by being aloof about the subject matter. On the contrary, our movies say a lot about what we are as a people. This book is composed of essays, reviews, and an interview. Moreover, it attempts to crack the terrain of mainstream Filipino films. The first section of this book attempts to explore the escapist appeal of mainstream cinema. Essays on mythology, form in the Filipino film, ideology, and genre studies attempt to examine Philippine Cinema to expose angles commonly overlooked by traditional film aesthetics.
Post by: pinoymovies on Dec 08, 2002 at 07:03 AM
Thanks again.
Post by: RMN on Dec 08, 2002 at 08:53 AM
Thanks ßa®tmaniac. I tried looking for this book a while back and did not have any luck. I just placed my order so ask the Pilipino Superstore for your commission. ;)
Hey can you help me find the book THE URIAN ANTHOLOGY? I tried looking for that one too and so far no luck. Thanks again.
Its available in National Bookstore Virra Mall. Its a pretty expensive book though.
Post by: RMN on Dec 08, 2002 at 08:54 AM
Here's a book on Philippine Cinema I found online. Some here might be interested:(http://store3.yimg.com/I/pilipinosuperstore_1719_462134503)
One Hundred Acclaimed Tagalog Movies (http://store.yahoo.com/cgi-bin/clink?pilipinosuperstore+HvacWM+100actagmov.html)
by: Mel Tobias
Some films you may not have seen or even heard about. The more familiar movies will inspire a voyage of discovery about the Philippine cinema- the directors, the stars, the stories and the intrigues. 100 Acclaimed Tagalog Movies presents poignant and entertaining reviews of classic Philippine films. Many of them have achieved cult-status. Film enthusiasts, and other readers curious about the history and growth of Asian and Philippine cinema, will find this book an excellent reference and guide.
I've read this book and I don't agree with all of his selections.
Post by: Noel_Vera on Dec 08, 2002 at 10:47 PM
Post by: keng001 on Dec 10, 2002 at 08:25 PM
Here's a book on Philippine Cinema I found online. Some here might be interested:(http://store3.yimg.com/I/pilipinosuperstore_1719_462134503)
One Hundred Acclaimed Tagalog Movies (http://store.yahoo.com/cgi-bin/clink?pilipinosuperstore+HvacWM+100actagmov.html)
by: Mel Tobias
Some films you may not have seen or even heard about. The more familiar movies will inspire a voyage of discovery about the Philippine cinema- the directors, the stars, the stories and the intrigues. 100 Acclaimed Tagalog Movies presents poignant and entertaining reviews of classic Philippine films. Many of them have achieved cult-status. Film enthusiasts, and other readers curious about the history and growth of Asian and Philippine cinema, will find this book an excellent reference and guide.
I've read this book and I don't agree with all of his selections some of which are really undeserving.
I'm also interested in buying this book. Can you give us a list of some of the films that are included. From what era, 60's to 80's??
Anyway, TFC is promoting Cinema One last night and it listed Lino Brocka's INSIANG to be shown on December 23, 2002.
Post by: pinoymovies on Dec 16, 2002 at 08:40 AM
http://www.geocities.com/pinoymovies/index.html
Majority are from Noel Vera but there's a few from Variety. If you know of any other pinoy movie reviews online, let me know and I'll add the link.
Post by: slowhand on Dec 16, 2002 at 09:19 AM
Why does everyone talk that way?
Ibig kong sabihin, para bang nagtatalumpati. Hindi natural. I don't think I've seen any local film (haven't seen that many though) where someone talks like a normal human talks.
Post by: pinoymovies on Dec 16, 2002 at 12:15 PM
Don't know if you've discussed this before, but my no. 1 question about Filipino films is:
Why does everyone talk that way?
Ibig kong sabihin, para bang nagtatalumpati. Hindi natural. I don't think I've seen any local film (haven't seen that many though) where someone talks like a normal human talks.
Why don't you try watching Minsan May Isang Puso. Kung magmura ang character ni Ricky Davao doon, hindi mo masasabing nagtatalumpati. Parang iyong kapit bahay nga namin, eh. Natural na natural. :)
Post by: Noel_Vera on Dec 17, 2002 at 12:34 AM
This is hard to pin down, actually. I don't have the problem with films like Insiang (except the last scene) and with Maynila sa Kuko (last I remember it), and definitely not with Kisapmata. But is a melodramatic mode, or speech style really fatal to a movie (in the case of Anita Linda talking about her career in Babae Sa Bubungang Lata, I'd argue it's intentional--she's from that period of moviemaking and most of her dialogue is patterend that way. It's also one of the most moving scenes in the film--or in almost any recent film, for that matter).
It might make you aware you're watching one, but I'd argue in a really strong film it doesn't matter anyway...
Have you seen the above movies? What do you think of them
Post by: ason on Dec 17, 2002 at 12:38 AM
Post by: Noel_Vera on Dec 17, 2002 at 12:52 AM
I wouldn't know, I haven't seen the film. I think the ones of the '70s--Insiang, Maynila sa Kuko, Kispamata--had an excellent chance. Recent stuff I've been championing--Bubungang Lata, Pangarap ng Puso, Sisa, Kriminal ng Baryo Concepcion--wouldn't be as successful, due to production values, or lack of. Segurista came closes, I hear, to being actually nominated, and THAT had a sensibility and production value.
Batang West Side might be intriguing, but that depends if Oscar voters have the attention span to include a five hour film...
But the Oscars are a fools' game, I think; all awards are. They're the result of negotionation and compromise, never the consideration of quality. My position is, if a good film wins an award, that reflects well on the award, not the film; the publicity is going to a good cause, which rarely happens.
Post by: ason on Dec 17, 2002 at 01:01 AM
Post by: Noel_Vera on Dec 17, 2002 at 01:53 AM
I don't know; I've got theories. One of them being America loves to take its admirers and allies and fans' club members for granted, while enemies get due respect...
Post by: flyderman on Dec 17, 2002 at 03:37 PM
Metro Manila Film Fest 2002 Film Entries
So far, I know only of Dekada '70 and Mano Po. Being that the book where Dekada '70 is based on is one of my favorite Pinoy books (though I don't read much anyway), I think I'm watching that.
Post by: Lex Luthor on Dec 17, 2002 at 05:28 PM
I dunno if this deserves a new thread, but let's talk about it here for now:
Metro Manila Film Fest 2002 Film Entries
So far, I know only of Dekada '70 and Mano Po. Being that the book where Dekada '70 is based on is one of my favorite Pinoy books (though I don't read much anyway), I think I'm watching that.
i think there's already a thread on this. check out the link below...
Noteworthy Filipino Films 2002/MMFF 2002 ENTRIES this XMAS (http://www.pinoydvd.com/yabbse/index.php?board=1;action=display;threadid=8544)
Post by: flyderman on Dec 17, 2002 at 07:37 PM
Post by: pinoymovies on Dec 18, 2002 at 06:12 AM
I have to go with rmn on Tobias' book. The selection is inconsistent, the writing shallow, and he provides no insights into the films he's talking about.
Got my copy of the Tobias' book today. I mostly agree with your observation but any book about Filipino movies is a welcome addition to my library. I have not seen too many books about our movies.
I like the movie stills in the book like the ones from Lino Brocka's Tubog sa Ginto showing Eddie Garcia and a very young Mario O'Hara. Wish there's more of those for the other movies.
The inclusion of two 'bomba' films from the '70s, Celso Ad Castillo's Nympha and Merle Fernancez' Uhaw, was a surprised.
Read the book, saw the list of One Hundred Acclaimed Tagalog Movies, now, where can we watch or rent these movies?
I think that's one question the book should have provided. :)
Post by: tonedeaf on Jan 13, 2003 at 12:16 AM
Except for the fact that it delayed the showing of LOTR: Two Towers, the MMFF (and its awards night controversy) actually did something good in that it got people (who normally don't patronize filipino films) watching local movies again (Mano Po and Dekada, in particular), if only to participate in the Mano Po v Dekada debate.
Post by: pinoymovies on Jan 26, 2003 at 04:19 AM
Scott Hamilton Kennedy's "OT: Our Town" won the Palm Springs International Film Festival's Audience Favorite Award.
Other Top 10 Audience Favorites, in descending order, are: "The Magdelene Sisters," directed by Peter Mullan (UK/Northern Ireland); "A Peck on the Cheek," directed by Mani Ratnam (India); "Touching Wild Horses," directed by Eleanor Lindo (England/Canada); "Nowhere in Africa," directed by Caroline Link (Germany); "Bánk Bán," directed by Csaba Kael (Hungary); "Kabhi Khushi Kabhie Gham," directed by Karan Johar (India); "Spellbound," directed by Jeff Blitz (USA), "Small Voices," directed by Gil Portes (Philippines); and "Mr. And Mrs. Iyer," directed by Aparna Sen (India).
For the complete article, here's the url:
http://www.zap2it.com/movies/news/story/0,1259,---15238,00.html
Post by: ßartmaniac on Jan 28, 2003 at 12:22 AM
(http://www.inq7.net/ent/2003/jan/27/images/ent_1-1.jpg)
'Oro, Plata, Mata' redux (http://www.inq7.net/ent/2003/jan/27/ent_1-1.htm)
from: http://www.inq7.net/ent/2003/jan/27/ent_1-1.htm
'Oro, Plata, Mata' redux (http://www.inq7.net/ent/2003/jan/27/ent_1-1.htm)
from: http://www.inq7.net/ent/2003/jan/27/ent_1-1.htm
excerpt:
20th anniversary
"Apocalypse Now Redux" followed the original movie's 20th anniversary in 1997. Now, through FLIP Magazine's Movie Club, "OPM" will be shown on Jan. 30, 6 p.m. at Greenbelt 3 to mark the classic's 20th anniversary. "It's not everyday that we come together to toast a Filipino movie," said FLIP publisher and editor Jessica Zafra. "But OPM is clearly one film that deserves to be commemorated. It raised the standards for Filipino films and, 20 years later, the public and the industry still look to the movie for guidance and inspiration." (read more... (http://www.inq7.net/ent/2003/jan/27/ent_1-1.htm))
Post by: sago on Jan 28, 2003 at 12:56 AM
"Apocalypse Now Redux" followed the original movie's 20th anniversary in 1997. Now, through FLIP Magazine's Movie Club, "OPM" will be shown on Jan. 30, 6 p.m. at Greenbelt 3 to mark the classic's 20th anniversary. "It's not everyday that we come together to toast a Filipino movie," said FLIP publisher and editor Jessica Zafra. "But OPM is clearly one film that deserves to be commemorated. It raised the standards for Filipino films and, 20 years later, the public and the industry still look to the movie for guidance and inspiration." (read more... (http://www.inq7.net/ent/2003/jan/27/ent_1-1.htm))[/i]
tnx f0r the link ßa®tmaniac, i never th0ught i papalabas nila it0 ulit. :)
Post by: rse on Jan 28, 2003 at 06:38 AM
Are you going to watch Oro, Plata, Mata on the 30th?
Are you going to post a full review afterwards?
Thanks.
rse
Post by: Noel_Vera on Jan 28, 2003 at 01:15 PM
Maybe. But no article after. Wasn't assigned.
Post by: diesel on Jan 28, 2003 at 04:16 PM
for instance, american adobo and mano po were poorly written and poorly acted (in my opinion as a viewer and as a communication major).
may minamahal (aga and aiko) were realistic with their lines. ito yung movieng hindi tumutula.
even then, movies in the 50s, 60s, 70s and 80s were far better than those that were shown recently.
Post by: RMN on Jan 29, 2003 at 06:00 PM
Post by: Lex Luthor on Jan 30, 2003 at 10:24 AM
i noticed lang that most filipino film critics tend to exaggerate good filipino movies. whereas pag foreign na, masyadong mataas ang expectations.
good point! seems like they have lower standards for Filipino films so the producers actually think they have done a good movie. i wouldn't be surprised that the industry will be producing more and more crap in the future. ::)
Post by: keating on Jan 30, 2003 at 09:38 PM
(http://www.inq7.net/ent/2003/jan/27/images/ent_1-1.jpg)
'Oro, Plata, Mata' redux (http://www.inq7.net/ent/2003/jan/27/ent_1-1.htm)
from: http://www.inq7.net/ent/2003/jan/27/ent_1-1.htm
excerpt:
20th anniversary
"Apocalypse Now Redux" followed the original movie's 20th anniversary in 1997. Now, through FLIP Magazine's Movie Club, "OPM" will be shown on Jan. 30, 6 p.m. at Greenbelt 3 to mark the classic's 20th anniversary. "It's not everyday that we come together to toast a Filipino movie," said FLIP publisher and editor Jessica Zafra. "But OPM is clearly one film that deserves to be commemorated. It raised the standards for Filipino films and, 20 years later, the public and the industry still look to the movie for guidance and inspiration." (read more... (http://www.inq7.net/ent/2003/jan/27/ent_1-1.htm))
Batmaniac were you able to watch it? We went to Greenbelt but we were not able to watch it. It was for those who have invitations only.
What is the policy of Flip Cinema Club about their special screenings? Not open to the public?
Sayang....I considered it as the best Filipino film of all time.
Any news on the dvd release?
Post by: Centurion Obama on Feb 01, 2003 at 06:12 AM
It is up to them, if they decide to make a Golden Age DVD or not. I hope they do. :)
They also have the rights to Himala.
Post by: ßartmaniac on Feb 01, 2003 at 06:51 AM
Batmaniac were you able to watch it? We went to Greenbelt but we were not able to watch it. It was for those who have invitations only.
What is the policy of Flip Cinema Club about their special screenings? Not open to the public?
Sayang....I considered it as the best Filipino film of all time.
Any news on the dvd release?
No I didn't.
Where was it shown exactly? I'm assuming the sceening was in GB3's MyCinema which has a small audience capacity ideal for private screenings.
Post by: keating on Feb 01, 2003 at 07:15 AM
Batmaniac were you able to watch it? We went to Greenbelt but we were not able to watch it. It was for those who have invitations only.
What is the policy of Flip Cinema Club about their special screenings? Not open to the public?
Sayang....I considered it as the best Filipino film of all time.
Any news on the dvd release?
No I didn't.
Where was it shown exactly? I'm assuming the sceening was in GB3's MyCinema which has a small audience capacity ideal for private screenings.
Yes, it was shown in Greenbelt Cinema. I'm not sure if it is in cinema 3.
My officemates and I were really not lucky enough because they said it was for those who have invitations only, I guess because of it's sitting capacity or they prefer only the VIP's.
I'm really eager to see it again on the big screen considering that this epic classic is now 20 years old and if it is remastered as Peque Gallaga dreamed for this movie.
Or is it the same print that I saw way back on the 90's during the World Cinema Centennial celebration held at Sm Megamall?
Best moments in this movie as I still remember: The opening party scene with classical music in the background, Batmaniac and JOeypogi, what music was used in that opening scene? ???
The peeling of the "butong pakwan" by the servants as Liza Lorena, Fides Asensio, Maya Valdez and Lorli Villanueva play mahjong in the mansion.
The pack-up scene or near the end of the plata section where the Lorenzo's and the Ojeda's knew that the Japanese soldiers are coming to the mansion, the tension moments are memorable especially the neurotic mother of Joel Torre bidding goodbye to the saints at the altar.
The exodus scene with the background of fields burning.
The massacre of some of the household when the 2 families hide in the forest.
Ang dami pa, di ko maalala yung iba.
To those who are lucky to watched it last Jan. 30, please share your ideas on that night about this epic masterpiece by Peque Gallaga. 8)
Post by: RMN on Feb 05, 2003 at 01:24 PM
Post by: Noel_Vera on Feb 06, 2003 at 12:13 AM
And Manila looks so clean in Manila By Night--actually a nice place to live in. And the music, which was topical, dates it
But it's not the physical misery or the look that is the film's power; it's the misery and desperation and sheer nastiness of the characters, the witheringly sarcastic vision of Bernal that is the film's true greatness. Not quite as easy to see as in Maynila, that greatness, but it's there if you care to give it a chance...
Post by: utoy on Feb 06, 2003 at 11:18 AM
To those who are lucky to watched it last Jan. 30, please share your ideas on that night about this epic masterpiece by Peque Gallaga. 8)
The movie was shown chronologically, thank God! The copy they used was the last master copy that they (ABS CBN, I think) have. The color was mostly in magenta (according to JZ, I wouldn't be able to tell) and the sound was still OK. Right in the middle of the movie, the negatives got stuck and melted right before our shocked eyes. Well hello Mr. Murphy, your law stinks!
Edited to add:
Joe Dallesandro, I need to get in touch with you. I'm returning your tapes! PM me.
Post by: keating on Feb 06, 2003 at 03:36 PM
To those who are lucky to watched it last Jan. 30, please share your ideas on that night about this epic masterpiece by Peque Gallaga. 8)
The movie was shown chronologically, thank God! The copy they used was the last master copy that they (ABS CBN, I think) have. The color was mostly in magenta (according to JZ, I wouldn't be able to tell) and the sound was still OK. Right in the middle of the movie, the negatives got stuck and melted right before our shocked eyes. Well hello Mr. Murphy, your law stinks!
Edited to add:
Joe Dallesandro, I need to get in touch with you. I'm returning your tapes! PM me.
Bro Utoy, swerte mo naman! How did you get the invitation? Are the cast and crew complete?
I only saw Peque Gallaga being interviewed on the t.v.
Are there discussions after the movie and what time did it start?
Post by: utoy on Feb 06, 2003 at 05:31 PM
Bro Utoy, swerte mo naman! How did you get the invitation? Are the cast and crew complete?Long story, short version, semi-OT.
I only saw Peque Gallaga being interviewed on the t.v.
Are there discussions after the movie and what time did it start?
No invitation, just sheer dumb luck. Like you, we were just outside thinking we could get in with our magazines as passes. But my friend, who was there earlier, was stopped by a Lara Fabregas look-alike saying she (my friend) was misinformed when another friend verified through the cousin of her friend who was an editor of the magazine that we, magazine-bearing members, could enter. Head hurt. She (my friend) left, leaving mopey us still hoping to get in. Luckily, Dan spotted his editor's friend and asked if we could crash. And we did, ahead of half the invited audience. :)
AFAIR, there was Cherie Gil, Abbo dela Cruz (JZ might have spoiled some people when she hinted that we'd grow to hate him later in the movie), Joey Reyes (for the screenplay?), some guy for set design, some old woman for the make up, Manny Castaneda, Peque Gallaga and his wife. Assunta da Rossi (probably there for her husband, why else would she be?) and Carlitos Sigeon-Reyna were also there. It started around 8pm with JZ acknowledging those present and ended at around 10:30 with a QnA. And yes, Kuh Ledesma's participation in the movie was discussed. :)
My only rant, it was the flip Movie Club, we loyal JZ fans who buy all her books and magazines should be given priority over those who have not bought, read or even heard of her works. Ang lumabas, sila sila rin lang. It's a movie club of the elite.
Post by: keating on Feb 06, 2003 at 07:32 PM
Tsk..tsk..tsk...we should have patiently waited outside of the cinema...sumama ang loob namin...that woman, the look-alike of Lara Fabregas was the same woman na pinagtanungan namin when we arrive there 5:30 p.m. ahead of the screening time. :(
That event only happens once in a lifetime!
BTW, why did Jessica Zafra spoiled some people, what did she hint?
I hope The Flip staff will read your message about their policy in screening movies. I sympathize you man, that night was the movie club of the elite!
What will be the next movie to be screen by the Flip Movie Club?
Post by: Dan on Feb 06, 2003 at 08:07 PM
My only rant, it was the flip Movie Club, we loyal JZ fans who buy all her books and magazines should be given priority over those who have not bought, read or even heard of her works. Ang lumabas, sila sila rin lang. It's a movie club of the elite.
Well said. We were lucky, nothing more. Else, we would have been left standing outside, moping. Kinapalan ko na nga lang ang mukha ko looking for that person I knew at Flip.
The thing is, the crowd was comprised of mostly Flip staff, their friends, sponsors and such. Sila-sila lang talaga. Paano na kaming mga dukha? Filipino film pa naman ang bansag sa Oro, Plata, Mata....
Like what I said in another thread, si direk Peque na nga ang nag-sabi na he suffered through prejudice as a tisoy cono during the late 60s and 70s, as well as prejudice for his film which was labelled by early critics as a "non-pinoy" work. He was so proud that now, his film was being appreciated as a "Filipino " work and him a Filipino as well.
Ironic then, that most Filipinos do not get to watch this masterpiece because of Lara Fabregas look-a-likes who bar you at the door.
Ganun' na ba ka-exclusive ang mga Filipino films? Pang artsy-fartsy crowd na lang? (who most likely didn't even understand the film, judging by the reactions I kept overhearing from the "elite" crowd).
Post by: keating on Feb 06, 2003 at 08:20 PM
Sana mabasa ito ng mga taga-Flip magazine, and hey, Noel I think is a writer from that magazine!
Please listen to our side...Noel!
I called Flip many times before even during the holiday season because this movie "oro,plata,mata" is schedule on Dec. 20 as advertised on Flip issue no. 3. The woman staff, (siya na naman kaya the lara Fabregas look-alike ???) said that it is schedule on Jan. 30 with actors/actress and even Peque will attend.
But she didn't said that it is only EXCLUSIVE TO THOSE WHO HAVE INVITATIONS!
We thought if you buy the magazine which I am planning to subscribe, you can watch the movie. ??? ??? ???
I hope they will screen it again.
Post by: Noel_Vera on Feb 06, 2003 at 10:25 PM
Don Jaime was there, didn't seem to want to greet me, whatever. Jaza was there, at least he was nice enough to say hi.
I was outside the line myself. I waited for a long time, and when they let the elite in they let the rest of us in. I sat at the aisles.
Yeah, it could have been better organized, and if they want to publicize the durn thing, they should have arranged for at least one public screening.
But you know what? It isn't worth the fuss. This is the fourth time I've sat through the entire film (the most complete print was back in the MIFF premiere screening, I saw at least two scenes cut in this one), and the film gets poorer and poorer with every viewing.
Next month is Temptation Island. Now THAT I'd like to see with an audience, on the big screen (prolly going to be video projection, but what the hey)...
Post by: Noel_Vera on Feb 06, 2003 at 10:27 PM
Noel Vera
Despite President Macapagal-Arroyo's pledge for a more moral administration compared to her predecessor--the not-quite-as-ethically preoccupied former President Joseph Ejercito Estrada--the production and interest in sex flicks continues; here are some possible reasons why.
The government has its own share of problems--more than its proper share, I'd say. If it were to cast about for a basis for comparison, I would point to the situation in which the Marcos regime found itself, during the last few years of its reign: little credibility, poor investor confidence, not a little political and social instability. I'm not equating the two administrations--Macapagal-Arroyo is not coming to the end of twenty years' of dictatorial rule, for starters. But if she were to talk to people from inside the regime, I think she would find their feelings of frustration and bewilderment--that so much has spun so completely out of control--to be not so very different. If so, she would also probably discover--has discovered, for all I know--the usefulness of a discreetly loosened film industry. The Marcos regime eventually found that censoring movies was more effort than it was worth (not to mention the bad publicity generated on the international level). Macapagal-Arroyo, having gone through three chairmen of the Movie and Television Rating and Classification Board (the MTRCB, or--to put it bluntly--the censors) in two years (and hopefully settling down with her fourth), probably arrived at a similar conclusion.
The Marcos regime found films useful in a "bread and circuses" way--give the public what it wants (sex), and the public will (hopefully) be too distracted to rebel (yet the '80s are remembered for producing some of the finest Filipino erotic films ever made--"Init sa Magdamag" (Midnight Passion, 1983); "Boatman" (1984); "Scorpio Nights" (1985)). When Macapagal-Arroyo first sat down as president she claimed that moral reform was a top issue on her agenda, and to show her seriousness, supported the ban on Jose Javier Reyes' arty sex flick, "Live Show" (2001). Nowadays you hear hardly a peep from her about moral reform in her administration, much less in the local film industry.
But it isn't just the government and the tenor of its leadership. The depressed economy, the ugly mood of the public, the sense of helplessness and fear are similar to what you saw about you in the '80s. Studios found that most other genres--action, fantasy, horror, drama--did generally poor to indifferent boxoffice; they found that sex was the most reliable come-on, for the relatively lowest initial investment (newcomers are actually an asset in a Filipino sex film, fresh flesh being both cheaper and more attractive).
Hence the recent resurgence of sex in Filipino cinema. It's its umpteenth comeback--conservatism and liberalism seem to come in waves, according to what's politically fashionable at the moment. Right now political fashion dictates that attention be directed elsewhere, on more important issues (corruption in government, the war on terrorism, the upcoming elections). No news is good news, and the studios react accordingly.
The latest practice is to hire a visual stylist to give the film an arty sheen--witness Erik Matti, whose first film "Scorpio Nights 2" (1998) was a huge hit. Matti apprenticed under Peque Gallaga, director of the original "Scorpio Nights," and exhibits the same virtues and weaknessess--a flair for glossy imagery coupled with a near-complete inability to tell a coherent story (in the original "Scorpio," however, the story was simple enough, the locale gritty enough, the sensuality intense enough to transcend the many flaws). Matti's latest film "Prosti" (short for 'Prostitute,' introducing fresh-faced Aubrey Miles) is all filtered amber light and insistent violin strings (shades of "In the Mood for Love,"--not that Matti was counting on people to recognize the theft) and about as substantial, one of the most ludicrous films of the year. The basic premise has a prostitute falling in love with her pimp in a "casa" (whorehouse) --problem is, whores in "casas" enjoy walk-in clients and hardly need pimps. You see the emphasis on surface flash over everyday believability right there...
Yam Laranas is a relatively more interesting case: he worked as cinematographer for the great independent short filmmaker Raymond Red and at one point had Matti as a mentor. His cinematography shows the influence of Red, with its casual lyricism and bold colors; unfortunately his films ("Balahibong Pusa" (Pussy Hairs, 2001), "Radyo" (Radio, 2001) betray an ineptness on the level of Matti's. His latest film, "Hibla" (Thread) tells of a country girl (Rica Peraleja, possibly the first "probinsyana" in the Philippines to wear slipshod silicon implants) and a city girl (Maui Taylor as an equally slipshod teenage seductress) who are separated as children, and meet again as adults. It proceeds as expected--incoherently, flaunting its pair of excruciatingly bad performances--to a sublimely silly climax involving the two girls' lovers in a wrestling match, before a nipa hut that refuses to burn down.
Quark Henares' "Gamitan" ('Plaything' being the closest translation) features equally silly moments--Maui Taylor (in her debut as sexy ingenue) and her lover chopping up a dead body--but Henares has the wit to acknowledge the silliness, and not pretend that what he's doing is art. He makes clever use of split screens and bizarre camera angles, plus an eclectic soundtrack, to add a level of irony to an otherwise ordinary scenario of a college-girl virgin transformed into lethal seductress.
Henares is a newcomer, while Matti and Laranas have only been at it for a few years. Joel Lamangan has been making films since the '80s, and his latest, "Bihag" (Prisoner) is not much different from most of his more commercial ventures: melodrama plus sex plus a subtext of anger fueled by class-consciousness. Dina Bonnevie plays a former rape victim who falls in love with and marries a former general (Eddie Garcia), a respectable old monster not above torturing the occasional prisoner and raping his wife's younger sister (Assunta de Rossi). Lamangan demonstrates heart and sensibility far beyond anything filmmakers like Matti or Laranas could ever hope to acquire (he was a political prisoner under the Marcos regime and even now is a committed activist). If only he was a better filmmaker...
"Bihag" has its politically correct heart in the right place without being very good melodrama--the performances are pitched too shrill, the camerawork is both busy and incoherent, the ending is cribbed from the short story "The Most Dangerous Game." I can't help admiring Lamangan, the same time I can't bring myself to like his work--but he does earn my respect, in a way Laranas and Matti have so far failed to do.
Maryo J. delos Reyes, another veteran, is no stranger to the sex flick--he recently did "Paraiso ni Efren" (Efren's Paradise, 1999) and "Red Diaries" (2001), both of which featured well-orchestrated sex (but not-as-well-orchestrated storytelling). His "Laman" (Flesh) comes as a complete surprise--a modestly scaled yet persuasive erotic noir about an innocent "probinsyano" who ends up in a four-way affair with his wife (Lolita de Loen), his best friend (Albert Martinez) and his woman employer (Elizabeth Oropesa). Delos Reyes plays with film grain and editing for a look as up-to-date as anything by Laranas or Matti, but with the unique advantage of a story that actually makes sense (no self-contradictory fantasy premises, no eternally combusting nipa huts). And he is blessed with an excellent cast--Oropesa and Martinez are very fine as an amoral and more than a little decadent older couple; Servo and de Leon stand out for their fresh, unaffected performances.
It's a telling sign of the times that films like "Hibla," "Gamitan," and "Prosti" do brisk business, while "Laman" languished at the boxoffice. The common explanation is that the three films featured women Filipino men wanted to bed--fair-skinned, innocent-looking, large (mostly artificial) breasts--while "Laman's" Lolita de Leon had genuinely huge (if droopy) breasts but was too lower class, too brown-skinned, apparently, to spark men's fantasies (blame the casting for being too accurate). The people who flocked to "Scorpio Nights" and "Boatman" in the '80s had more on their minds than "mestiza" flesh; they were looking for an outlet for their nihilism and despair, and in those two films (consciously, unconsciously) they found powerful expression. The same mood may have been prevalent this year, but unfortunately there wasn't the same level of talent available to make the appropriate response.
(Comments? Email me at [email protected])
Post by: RMN on Feb 07, 2003 at 10:21 AM
Manila By Night needs to be seen on the big screen...and even then, even with a pristine print, it can't compare to Mike De Leon's camerawork in Maynila sa Kuko (even on cable!).I guess it would probably be better on the big screen (I was watching it on a small tv set). Maybe, I would be able to finish it. However, I still feel that Maynila sa Kuko is far better movie.
Post by: Noel_Vera on Feb 08, 2003 at 01:41 AM
Post by: slowhand on Feb 08, 2003 at 08:12 AM
Post by: kakabanas on Feb 08, 2003 at 09:00 AM
I like Maynila sa Kuko better myself. But Manila by Night is a tremendous film, it can't just be dismissed out of hand...
I'm with you there. I just saw Maynila again a couple of days ago ... it's still gritty and touching and so real.
And the characters talk like normal people unlike in new movies now ... littered with the annoying "ok ka lang?"
Post by: keating on Feb 08, 2003 at 10:17 AM
Sorry, I wouldn't know, I just write for the rag, and I've only been paid for one article.
Don Jaime was there, didn't seem to want to greet me, whatever. Jaza was there, at least he was nice enough to say hi.
I was outside the line myself. I waited for a long time, and when they let the elite in they let the rest of us in. I sat at the aisles.
Yeah, it could have been better organized, and if they want to publicize the durn thing, they should have arranged for at least one public screening.
But you know what? It isn't worth the fuss. This is the fourth time I've sat through the entire film (the most complete print was back in the MIFF premiere screening, I saw at least two scenes cut in this one), and the film gets poorer and poorer with every viewing.
Next month is Temptation Island. Now THAT I'd like to see with an audience, on the big screen (prolly going to be video projection, but what the hey)...
Noel, I thought you are a resident writer on Flip Magazine. Anyway, I read your reviews on The last Temptation of Christ. Inspite of all the controversies surrounded by that movie, for me it's Martin Scorsese's personal and best film to date. 8)
With oro's viewing which gets poorer and poorer with every screening, I think film restoration is badly needed for that and other Filipino film classics.
What two scenes were cut during its screening anniversary?
Was ITIM finally restored when it was shown theatrically for the first time at the Pelikula at Lipunan Film Festival?
Post by: diesel on Feb 08, 2003 at 10:59 AM
I've gotten several recommendations for Kung Mahawi Man Ang Ulap. I've been waiting for it to be shown on TV. Anyone can comment on this film?i remember watching this one. is this the hilda koronel starrer?
Post by: kakabanas on Feb 08, 2003 at 11:24 AM
I've gotten several recommendations for Kung Mahawi Man Ang Ulap. I've been waiting for it to be shown on TV. Anyone can comment on this film?i remember watching this one. is this the hilda koronel starrer?
Yes ... it was from comics, i don't know which one.
But the classic film I am dying to see ... and I hope there's one good copy left (I refuse to believe Noel). is Tubog sa Ginto. Haven't seen it but heard a lot about how good it is. Probably one of Lino Brocka's best.
Post by: Noel_Vera on Feb 09, 2003 at 02:43 AM
There could be a betamax copy somewhere, I don't know...but they better transfer it to VHS or VCD before the tape starts getting moldy. Or maybe a 16 mm print or god willing, a 35 mm print in someone's basement...
I hear you get to appreciate the size of Mario O'Hara (for a brief flash of a moment) in that one. Hear he's huge... ;D
Post by: kakabanas on Feb 09, 2003 at 03:15 AM
I hear you get to appreciate the size of Mario O'Hara (for a brief flash of a moment) in that one. Hear he's huge... ;D
Stop teasing me .. I'm more interested to see a young Eddie Garcia in a shower scene with another man ! Saw some still photos and it looked really HOT ! :D
8)
k
Post by: Noel_Vera on Feb 09, 2003 at 03:57 AM
Post by: kakabanas on Feb 09, 2003 at 04:24 AM
Eddie wasn't that young; he was the middle aged rich man mixed up with a young ingenue (Mario O)
Middle aged Eddie Garcia (35-40s ?) from 1971-72 I think was sexy !
8)
k
Post by: RMN on Feb 09, 2003 at 10:52 AM
The negative of Tubog sa Ginto is gone. SOFIA (Society of Film Archivists) showed one of the reels as an exhibit of what a damaged neg looked like...it was a twisted, half-melted lump of plastic.
There could be a betamax copy somewhere, I don't know...but they better transfer it to VHS or VCD before the tape starts getting moldy. Or maybe a 16 mm print or god willing, a 35 mm print in someone's basement...
Does the CCP have a copy (either in betamax or vhs)? Brocka donated copies of his films to the CCP.
Post by: justine on Feb 09, 2003 at 01:17 PM
my fave tagalog movie of all time is Forever with Aga and Mikee, the best ;D
Post by: pinoymovies on Feb 10, 2003 at 12:46 AM
I hear you get to appreciate the size of Mario O'Hara (for a brief flash of a moment) in that one. Hear he's huge... ;D
Stop teasing me .. I'm more interested to see a young Eddie Garcia in a shower scene with another man ! Saw some still photos and it looked really HOT ! :D
8)
k
Did you see the ones from Tobias' book 100 Acclaimed Tagalog Movies? I can scan it and post it somewhere if anyone wants to see it.
Post by: Noel_Vera on Feb 10, 2003 at 01:00 AM
Forever I never saw. Really better than Maynila sa Kuko...?
Post by: kakabanas on Feb 11, 2003 at 03:36 AM
Did you see the ones from Tobias' book 100 Acclaimed Tagalog Movies? I can scan it and post it somewhere if anyone wants to see it.
Please do so ... ;D ;D ;D
k
Post by: indie boi on Feb 11, 2003 at 09:32 PM
The people in CCP and SOFIA talk to each other. Tubog is gone, unless someone volunteers a copy. All up to them. Or you...
Forever I never saw. Really better than Maynila sa Kuko...?
If memory serves me right, i saw Tubog sa Ginto being shown in one of the cable channels a couple of years ago. I just can't remember which one it is.
A question though, anyone here saw Minsan isang Pangarap? Who directed that movie? And is it any good?
Post by: pinoymovies on Feb 12, 2003 at 12:11 AM
Did you see the ones from Tobias' book 100 Acclaimed Tagalog Movies? I can scan it and post it somewhere if anyone wants to see it.
Please do so ... ;D ;D ;D
k
Here's the url for the two Tubog sa Ginto movie stills. I posted it at an AOL hometown webpage so it will probably say 'url not available'. Just hit 'go' or 'enter' once or twice and it will show.
http://hometown.aol.com/pinoymovies/tubog.html
Post by: Reuven Malter on Feb 16, 2003 at 02:36 PM
Was that Amay Bisaya playing one of the ominous creatures? ;D
Great ensemble cast! Was surprised to see Leni Santos too.
Post by: Noel_Vera on Feb 17, 2003 at 02:12 AM
Post by: Reuven Malter on Feb 17, 2003 at 06:17 AM
Post by: Noel_Vera on Feb 18, 2003 at 01:46 PM
Post by: wcvmorasa on Feb 20, 2003 at 02:24 PM
My brother told me that he saw (along with a friend) this comedian in a place in manila, and his friend commented that some of our forgotten actors/actresses live in a place near where they were.
/2F8H
Post by: Noel_Vera on Feb 21, 2003 at 12:54 AM
Many of the stories in the film are from real life. The Canadian film festival Chaning Carlos' character went to is the Toronto Film Festival. For a while there it looked as if they were promoting Filipino films as the new gay erotica.
This is why Toronto passed the film over but Vancouver snapped it up.
Post by: Reuven Malter on Feb 21, 2003 at 06:50 AM
Post by: commentary on Feb 21, 2003 at 09:18 AM
where'd you get it? what format? how much? :)
Post by: Noel_Vera on Feb 22, 2003 at 01:40 AM
They're ALL available on VHS and VCD out of Los Angeles, right? Oh, the irony...
Post by: RMN on Feb 22, 2003 at 07:14 PM
Post by: Noel_Vera on Feb 23, 2003 at 02:34 AM
I think I've seen it, but so long ago I don't really remember it.
Post by: keng001 on Feb 23, 2003 at 09:35 AM
Movie of the Year: "Dekada '70," Star Cinema; "Laman," Regal Entertainment; "Magkapatid," Viva Films; "Mano Po," Regal Entertainment; "Mga Munting Tinig," CAP Phils., Inc. and Teamwork Prods.
Movie Director of the Year: Joel Lamangan, "Magkapatid"; Joel Lamangan, "Mano Po"; Maryo J. Delos Reyes, "Laman"; Chito Roño, "Dekada '70"; Gil Portes, "Mga Munting Tinig."
Movie Actress of the Year: Claudine Barretto, "Kailangan Kita"; Sharon Cuneta, "Magkapatid"; Vilma Santos, "Dekada '70"; Maricel Soriano, "Mano Po"; Alessandra de Rossi, "Mga Munting Tinig."
Movie Actor of the Year: Ricky Davao, "American Adobo"; Christopher de Leon, "Dekada '70"; Eddie Garcia, "Bahid"; Aga Muhlach, "Kailangan Kita"; Yul Servo, "Laman."
Movie Supporting Actress of the Year: Kris Aquino, "Mano Po"; Amy Austria, "Mga Munting Tinig"; Elizabeth Oropesa, "Laman"; Cherry Pie Picache, "Masarap, Mainit Paraisong Parisukat"; Judy Ann Santos, "Magkapatid."
Best Supporting Actor of the Year: Johnny Delgado, "Kailangan Kita"; Richard Gomez, "Mano Po"; Albert Martinez, "Laman"; Piolo Pascual, "Dekada '70"; Kenneth Ocampo, "Laman."
Post by: Reuven Malter on Feb 23, 2003 at 12:45 PM
Movie of the Year: "Laman," Regal Entertainment
Movie Director of the Year: Maryo J. Delos Reyes, "Laman"
Movie Actress of the Year: Vilma Santos, "Dekada '70" or Maricel Soriano, "Mano Po"
Movie Actor of the Year: Yul Servo, "Laman" or Ricky Davao, "American Adobo"
Movie Supporting Actress of the Year: Elizabeth Oropesa, "Laman" or Kris Aquino, "Mano Po"
Best Supporting Actor of the Year: Albert Martinez, "Laman" or Piolo Pascual, "Dekada '70"
Post by: wcvmorasa on Feb 23, 2003 at 05:03 PM
"I just bought and watched "babae sa bubungang lata"...
where'd you get it? what format? how much? :)
astrovision ATC, VCD, 150PhP.. ;D I don't know if they still have copies.. this was the last one.. maybe you can call your nearest astro so they can place a copy for you..
/2FBH
Post by: Noel_Vera on Feb 23, 2003 at 10:57 PM
STAR Awards Nominees:
Anything that doesn't at least nominate or mention Hesus Rebolusyunaryo I can't take seriously at all.
Looks like I'm not following any of the awards this year.
Post by: Reuven Malter on Feb 23, 2003 at 11:01 PM
Post by: Noel_Vera on Feb 23, 2003 at 11:05 PM
Apparently there are limits to even their concept of what's a good film.
Post by: Reuven Malter on Feb 23, 2003 at 11:10 PM
Post by: Noel_Vera on Feb 23, 2003 at 11:23 PM
On another topic: which Astrovision is that where Bubugnang Lata was found?
Post by: Reuven Malter on Feb 23, 2003 at 11:27 PM
Post by: Lex Luthor on Feb 24, 2003 at 09:23 AM
STAR Awards Nominees:
Anything that doesn't at least nominate or mention Hesus Rebolusyunaryo I can't take seriously at all.
Looks like I'm not following any of the awards this year.
But aren't you surprised that they cited Mario J and Laman? It's good that they got the nominations...
Post by: Noel_Vera on Feb 24, 2003 at 12:31 PM
Post by: wcvmorasa on Feb 24, 2003 at 04:25 PM
On another topic: which Astrovision is that where Bubugnang Lata was found?
my guess is that what wcvmorasa means by ATC is Alabang Town Center.
yup.. that's correct.. thanks Reuven.
/2FCH
Post by: acyl_halide on Feb 24, 2003 at 04:49 PM
Anita Linda's character in Bubungang Lata is based on Moody Diaz. She spent her last years living in her mausoleoum.
Many of the stories in the film are from real life. The Canadian film festival Chaning Carlos' character went to is the Toronto Film Festival. For a while there it looked as if they were promoting Filipino films as the new gay erotica.
This is why Toronto passed the film over but Vancouver snapped it up.
I saw this film in my province in a rundown cinema which is presently already condemned. It was a double feature. Kriminal ng Bo. Concepcion d/w Babae sa Bubungang Lata. I thought Anita Linda's character was inspired by Mary Walter who also spent her last days living in the mausoleum of her husband.
Post by: Reuven Malter on Feb 24, 2003 at 06:16 PM
Post by: Noel_Vera on Feb 25, 2003 at 12:54 AM
Post by: demented_angel on Feb 26, 2003 at 01:43 AM
Anita Linda's character in Bubungang Lata is based on Moody Diaz. She spent her last years living in her mausoleoum.
Many of the stories in the film are from real life. The Canadian film festival Chaning Carlos' character went to is the Toronto Film Festival. For a while there it looked as if they were promoting Filipino films as the new gay erotica.
This is why Toronto passed the film over but Vancouver snapped it up.
I saw this film in my province in a rundown cinema which is presently already condemned. It was a double feature. Kriminal ng Bo. Concepcion d/w Babae sa Bubungang Lata. I thought Anita Linda's character was inspired by Mary Walter who also spent her last days living in the mausoleum of her husband.
that senior actress is not the late Mary Walter...but she's Mody Diaz...she used to lived in La Loma Cemetery :(
Post by: utoy on Feb 27, 2003 at 10:19 AM
Post by: acyl_halide on Mar 01, 2003 at 07:39 PM
Has The Kid redeemed himself already after such lackluster remakes of his own films?
Post by: Noel_Vera on Mar 02, 2003 at 02:48 AM
Post by: akane on Mar 06, 2003 at 04:52 PM
thanks!
Post by: Reuven Malter on Mar 06, 2003 at 05:27 PM
Post by: acyl_halide on Mar 17, 2003 at 03:59 PM
Post by: Reuven Malter on Mar 17, 2003 at 07:11 PM
Post by: Noel_Vera on Mar 17, 2003 at 07:20 PM
Post by: acyl_halide on Mar 17, 2003 at 07:46 PM
Entry ng Regal Entertainment sa Manila Film Festival ang pelikulang may pamagat na Kuya at ididirek ni Jeffrey Jeturian. Tampok sa youth-oriented movie sina Cogie Domingo, Danilo Barrios, James Blanco, Oyo Boy Sotto, Railey Valeroso at Richard Gutierrez. Kasama rin sa cast sina Maxene Magalona, Chynna Ortaleza at Aubrey Miles.
Kung matutuloy si Aubrey, first wholesome movie niya ito at mapapanood ng mga batang gusto siya. Naniniwala raw si director Jeturian na kahit nagbo-bold ay tatanggapin pa rin si Aubrey sa mga pam-pamilya at pang-bagets na pelikulang gaya nito. Saka ang alam namin, ipinaglaban siya ng supervising producer na si Manny Valera na masama sa pelikula.
Post by: Reuven Malter on Mar 17, 2003 at 07:52 PM
Post by: Noel_Vera on Mar 19, 2003 at 01:01 AM
I knew Madrid was good since 1998, when I saw him in Sisa.
Post by: Reuven Malter on Mar 19, 2003 at 06:38 AM
Post by: Noel_Vera on Mar 19, 2003 at 07:48 AM
Post by: acyl_halide on Mar 19, 2003 at 12:11 PM
Post by: rse on Mar 19, 2003 at 07:44 PM
Post by: Noel_Vera on Mar 19, 2003 at 10:02 PM
Post by: delcros on Mar 23, 2003 at 04:54 PM
i'm just curious kung ano ang kasarian ni noel vera? kung bakit ganun na lang ang kanyang pagkagusto kay mario o hara.
tingnan n'yo, at the top of his least, i mean list, of best filipino films of all time is mario o hara directed tatlong taong walang diyos. i don't say tatlong taong walang diyos is bad, it is a good film but to compare it to maynila sa mga kuko ng liwanag (the only filipino film i consider 'brilliant', and probably will land in my top 10 best film of all time, foreign and local. and by the way the only local movie to made it) is out of the question.
noel's best film for the 80's is also mario o'hara film.
noel's best film for the 90's is another mario o'hara film: bubungang lata.
and then, he served as judge for cinemanila scriptwriting contest and mario o'hara's entry hocloban tied with cut as the top prizes.
then came insiang the play. as expected noel vera extolled it to high heavens. i found the play overdone and half baked. hehehe
then i read another of his articles loudly proclaiming mario o'hara as the best living scriptwriter nowadays.
yes mario o hara is one of the better scriptwriter nowadays but the best?? that honor belongs to armando bing lao. don't deprive armando lao of that.
the true barometer of a good scriptwriter is this: pair him with a bad director, if the finish product (the film) is good, then the scriptwriter is good. this has been done with flying colors by armando lao. see his takaw tukso. critics were surprised when pascual, who was used to making so-so films, came up with a decent takaw tukso. nagulat sila dahil nakagawa si pascual ng magandang movie. little did they know that pascual is not the reason, but armando lao.
luwalhati baustista had the opportunity of working with a bad director and she failed miserably (see, was it, sutla(?)).
chito rono who i consider an average filmmaker did his best when paired with armando lao. for me chito rono's best work to date is la vida rosa (though his best directed movie is eskapo). la vida rosa was good because of armando lao and secondarily rono's direction. la vida rosa could have been its year's best if batang westside was not in the release list. (by the way i consider batang westside the best film in recent years, it is definitely (!) better than bayaning third world.)
armando lao's latest works were all topnotched. pila balde (best work along with takaw tukso), tuhog, sana pag-ibig na, these films have glimmering screenplays. all of jeturian's films were good but i have yet to see a jeturian movie without lao. if there will be, then that's the only time i can truly judge jeturian's worth as a filmmaker. pair lao with any director and i assure you the end product is good, a mark of a true 'best scriptwriter'. if jeturian can do this, pair himself with a bad scriptwriter and still come up with a good film, then he is able. between jeturian and lav diaz, i have better regards for the latter for up until now, jeturian has yet to prove himself without lao (diaz writes his films). then am i allowed to say that until now, armando lao is the best asset of jeffrey jeturian?
i don't also consider jose lacaba as the other best scriptwriter. all of lacaba films were just relevant and weighty. kung gumawa ba si lacaba ng hindi relevant, ano kaya ang kalalabasan? i doubt he has the mastery of armando lao (though he was the teacher of the latter, a case in which the student surpasses his mentor?).
mario o hara, best scriptwriter? mario o'hara can't even go past lao how could he be considered best writer?
kaya naman, nagtataka ako kay noel vera. lahat ng mario o'hara films siguradong magaling yan, para kay noel. i wonder kung nagkarelasyon lang si noel vera at mario o'hara before? sino ba ang bading sa kanila? si noel ba? si mario ba?
noel, ipagtanggol mo ang iyong sarili, this is your time.
i also have one concern with this message board. halos lahat ng nagpopost dito agree ng agree kay noel. bakit, takot kayo kay noel?
this message board won't achieve its purpose kung lahat kayo nag-aagree. katulad ng u.s. at iraq, dapat nag-aaway-away kayo. hehehe
uy wag nyo akong aawayin...
Post by: Reuven Malter on Mar 23, 2003 at 05:58 PM
i'm just curious kung ano ang kasarian ni noel vera? kung bakit ganun na lang ang kanyang pagkagusto kay mario o hara.
ano naman po ang kinalaman ng kasarian sa pagkagusto ni noel sa mga obra ni o' hara?
the true barometer of a good scriptwriter is this: pair him with a bad director, if the finish product (the film) is good, then the scriptwriter is good. this has been done with flying colors by armando lao.
good call on armando lao. i'm so beholden with jeturian that i didn't realize your observation. heard his making a new regal film, wonder if it'd be scripted by lao again.
i also have one concern with this message board. halos lahat ng nagpopost dito agree ng agree kay noel. bakit, takot kayo kay noel?
i don't think everyone agrees with noel all the time. for instance, we have always disagreed with the merits of Moulin Rouge!
uy wag nyo akong aawayin...
why the defensiveness? kung pinipersonal na natin ang diskusyon, mapipilitan talaga ang mga kinakalaban na mamersonal din. ok na yung points mo about mario o' hara. huwag na sanang isama ang puntirya sa kasarian ni noel o kung may relasyon man sila ni o' hara. jesus! what a thought!
i'm not defending noel. i'm just making sure we don't get personal on this board and just stick to the issues. let us respect one another. my two cents.
Post by: keating on Mar 23, 2003 at 06:02 PM
Im not afraid of him in fact
he also panned Peque's "oro, plata, mata" but he was there in the 2oth anniv. watching the film. ???
But he cites "Scorpio nights" as peque's best film.
Bro Noel...lets hear your comment about this matter. 8)
Post by: Noel_Vera on Mar 23, 2003 at 06:12 PM
And I've written enough about Maynila sa Kuko ng Liwanag too. Not to mention any number of Filipino filmmakers and films.
I've written enough about all of em that I don't feel the need to defend my choices or opinions. If you don't agree, go to, god bless, so on and so forth.
For the record, I'm straight--wife and two kids, happily married, etc. etc. Call me an unwilling homophile--I'm not too crazy about gays, but do I have a choice, liking them? Most of the great ones in the '70s ARE gay--O'Hara, Brocka, Bernal (and a few others I'm not going to mention are suspect), and even the recent ones--Jeffrey Jeturian and Bing Lao. The only filmmakers I know who are straight and good are are Tikoy Aguiluz, Celso Ad. Castillo, and Lav Diaz.
I like women--like em a lot. Like em sexy too--notice my preference for Laurice Guillen (she was hot when she was young) over Marilou Diaz Abaya. But it's more than that--Guillen has an eye, and the sensuality, to be a good filmmaker.
Post by: keating on Mar 23, 2003 at 06:29 PM
Bro delcros...just stick to the discussion or topic, this is not a thread about DEFENDING YOUR GENDER.
Peace to both of you!
Post by: Noel_Vera on Mar 23, 2003 at 06:41 PM
Saw half of this film, Mga something something Rampado, by a filmmaker whose name I forgot, about male models; the only name I actually recognized was Odette Khan, who was okay. Terrible film.
Post by: keating on Mar 23, 2003 at 06:55 PM
I dont want intrigues to happen here in pinoydvd. You see everyday puro intrigues and rumor mongering na yung workplace ko...plus the Iraq & U.S. war... pinoydvd is my place for stress free.
But sometimes you met some very "nice" people like delcros. I think mali talaga siya about doubting your gender, thats out of the topic already.
Peace man! 8)
Post by: Noel_Vera on Mar 23, 2003 at 10:43 PM
I do like Scorpio Nights very much.
And Maynila sa Kuko. And Armando Lao. And Gerry de Leon, to whom O'Hara, Lino Brocka, FPJ, and Celso Ad. Castillo owe much of their film styles...
And I give detailed reasons, at least in my article. The reader is free to take em or leave em.
Post by: sungit on Mar 24, 2003 at 01:21 AM
Post by: Noel_Vera on Mar 24, 2003 at 01:12 PM
Post by: commentary on Mar 30, 2003 at 12:40 PM
"the true barometer of a good scriptwriter is this: pair him with a bad director, if the finish product (the film) is good, then the scriptwriter is good."
True, delcros, you may be able to judge whether a scriptwriter is good based on this barometer, but that by no means is an indicator that he is the best.
Your basis for judging seems to be this and this alone, and not on the quality of the individual (and subsequently collective) scripts.
pair lao with any director and i assure you the end product is good, a mark of a true 'best scriptwriter'
The mark of a good scriptwriter, maybe. But to claim someone to be the best based on that? I think you'd need a much thicker platform to stand on before making such an assertion.
"i don't also consider jose lacaba as the other best scriptwriter. all of lacaba films were just relevant and weighty. kung gumawa ba si lacaba ng hindi relevant, ano kaya ang kalalabasan?"
Why does a scriptwriter have to do films na "hindi relevant"? Who are we to tell him what type of films he should write? The fact that Lacaba dares to tackle relevant topics and that the scripts get made into films means enough as it is. What you're judging on here, again, is not the quality of the scripts themselves, but your preference of movies for enjoyment rather than relevancy.
As many people on this board say as well, I often disagree with Noel, but I do respect his opinion.
kaya naman, nagtataka ako kay noel vera. lahat ng mario o'hara films siguradong magaling yan, para kay noel. i wonder kung nagkarelasyon lang si noel vera at mario o'hara before? sino ba ang bading sa kanila? si noel ba? si mario ba?
And in regard to those homosexual comments... could the same not be said for you and bing lao, delcros? ;)
Post by: Noel_Vera on Mar 30, 2003 at 01:13 PM
I'd call relevancy a crutch, even a weight on a scriptwriter's neck, especially in the Filipino film industry--writers tend to use this as a shield to ward off criticism of their works (as I think happened somewhat with Munting Tinig). Maybe the best word to describe it is, it can be a trap. You walk into that trap at your own risk.
I think Lacaba for the most part is able to escape the perils of this trap, mainly because his scripts have so little fat in them--they move ahead, logically and coherently, and gain momentum as they do so (what 'fat' you see featuring his political and social orientations I'd rather call 'flavoring'--there isn't enough of it, and the script moves too fast to call it fat). I don't see any Filipino writer doing this, not O'Hara (except in maybe Insiang), not even Lao, not to this extent. He's the master of the well-structured, all-meat script.
Post by: delcros on Mar 30, 2003 at 02:54 PM
homophilia, whether willing or unwilling, is homosexualism, no need to further explain.
married and has kids? tell me if i need to enumerate those gays, in the open or closeted, who are married and have kids.
noel vera questions the sexuality of mike de leon and then no one badgers. i question noel's sexuality and everybody raised hell. how come?
with noel's point on lacaba (about "meat meat meat"), it just shows that noel is ignorant when it comes to the art of scriptwriting. i believe he hasn't written a screenplay yet.
the premise i raised in defending lao as the best scriptwriter is not the 'meat' of my argument. i think 'commentary' is hallucinating.
armando lao is the best scriptwriter because he is the best. period. awards, even if he holds the urian record for the winningest screenwriter, won't suffice his overwhelming talent.
alam mo ba an ibig sabihin ng 'relevant'? i think you don't, otherwise you won't ask what you asked.
am i a homosexual? you want an answer?
i will admit it, IF AND ONLY IF, noel will admit it. so? paaminin mo na si noel, para mapaamin mo ako.
commentary, you're too shallow to outwit me. hehehe
Post by: Noel_Vera on Mar 30, 2003 at 03:21 PM
Huh? I admire and like filmmakers who happen to be homosexual, I thought I made that clear.
"noel vera questions the sexuality of mike de leon and then no one badgers. i question noel's sexuality and everybody raised hell. how come?"
Because of the way you asked it? Like you're spoiling for a fight?
My speculating on De Leon's sexuality is part and parcel of my admiration for his works--I want to know more about the man, and hopefully this way understand more about his films. Your insinuation was insulting, but I pretty much let it pass until now.
"with noel's point on lacaba (about "meat meat meat"), it just shows that noel is ignorant when it comes to the art of scriptwriting. i believe he hasn't written a screenplay yet."
Rizal sa Dapitan. Part of my screenplay was used for the final product.
"armando lao is the best scriptwriter because he is the best. period."
I've been explaining, here and in my articles why O'Hara, and yes, Lao are good. You come up with terms like "ignorant" and "period." How about explaining why you think Lao's the best, instead of hitting out so recklessly?
"am i a homosexual? you want an answer?
i will admit it, IF AND ONLY IF, noel will admit it. so? paaminin mo na si noel, para mapaamin mo ako."
I admitted I am not. Are you saying you are, or are not? Come clean, or stay silent.
And incidentally, I'm using my real name. What's yours or are you afraid to say it?
"commentary, you're too shallow to outwit me. hehehe"
Cute. With a mere two posts you've managed to insult me and comm in particular, and all the members of this message board in general. This isn't PinoyExchange, you know, where any moron can fight any other moron. If you want to continue in this vein, maybe we should take it up with the moderator.
Post by: Centurion Obama on Mar 31, 2003 at 04:59 AM
mr. delcros,
welcome to pinoydvd.
we welcome strong opinions always here in pinoydvd. in fact, if our discussions get too sedated, we get pretty bored. hence our allowing of mr. vera's snide remarks, sometimes ;D.
you obviously know a lot about filipino film and would be a very welcome asset to the pinoydvd community.
but resorting to personal insult is just not fair. please debate on the merits of a film or a director, without having to personally attack the poster.
be nice.
thanks.
Mod Joey
Post by: RMN on Mar 31, 2003 at 12:37 PM
it'd be interesting how Jeturian would direct those young actors. he was able to churn out something good from Gerald Madrid.
Are you refering to Gerald Madrid in Sana pag-ibig na? Sorry, but In my opinion I think he ruined an otherwise good film. His acting was really bad. ;D
Post by: Noel_Vera on Mar 31, 2003 at 10:49 PM
Post by: Noel_Vera on Mar 31, 2003 at 11:11 PM
Gerry de Leon's "Lilet" is at times awkwardly done, with an overcomplicated Gothic plot (daughter comes back after years of imprisonment for killing her brother--who is her lover), and Celia Rodriguez is much too old for the role (it should be a twenty or eighteen year old nymphet, I think). But De Leon's Gothic style and sense of atmosphere is there, some of the editing and images are striking. And this may be the equivalent in his career to Michael Powell's "Peeping Tom," or Alfred Hitchcock's "Frenzy"--the film where he wears his perversions on his sleeve.
"Fe, Esperanza, Caridad" is a Nora Aunor showcase, with three directors involved.
"Fe" is competently directed by Cirio Santiago, and is basically a warmed over version of "A Star is Born" (Nora will have retold this far more successfully in her "Kastilyong Buhangin."
"Esperanza" is surpisingly light and charming (she plays housewife to a likeable Jay Ilagan)--in fact, it's the first Lamberto Avellana film I've ever liked, and the first time I've seen Nora be effortlessly funny.
"Caridad" is amazing: Gerry De Leon does a breathtaking sequence of Nora as a nun, running away with a gardener (Ronaldo Valdez, who else?).
Then it turns out that the gardener is The Devil Himself, and the segment plunges into purest schlock: he wears a Count Dracula costume and a medallion that looks like it was lifted from John Travolta in Saturday Nigth Fever. His bedroom (you might call it his pad) could have been used as a disco (you can guess Satan liked to party down).
And then--it recovers! Nora has sex with Satan, then tempts him into good; De Leon's stylized acting and dialogue (it's always been that way, it seems) actually fits the metaphysical drama unfolding, and you end up feeling some sympathy for all the parties involved. Amazing piece of film--as much for the way it spectacularly goes off the rail, then somehow comes back on track.
"Banaue"--well, what can I say, except De Leon was old when he did this. Like Annaud with "Quest for Fire," or Boorman with "The Emerald Forest," he tries to film primitive people and with disastrous results. Everyone speaks literary dialogue that just kills the drama, some of the spears look obviously tinfoil, and De Leon has this habit (you see sometimes in "Lilet") of smearing his lenses with Vaseline--in "Banaue's" case, colored Vaseline apparently, and all the time. The fight scenes towards the end are expertly shot and cut, if awkwardly staged.
Mario O'Hara's "Bed Sins" is a mess, but a fascinating one. Sarsi Emmanuelle plays a high class hooker (of course) with a messy life--she has a customer obsessed with her, a would-be boyfriend who hates her, and a best friend who seems religiously psycopathic.
O'Hara has a Gothic style I think he inherited from De Leon, and his editing is always enjoyable, but this time the movie looks--flat. It's a cheapo production for Seiko films, and there are a few good setpieces (a gunfight, some of the sex scenes, and an ending that is disturbing, to say the least), and it has O'Hara's patented dark sense of irony, but something's missing. Sarsi's pretty good here, though; Liza Lorena as the relgious fanatic friend is amazing.
I saw the uncut version--graphic shots of cunnilingus and of fellatio inserted, not as blatantly as I was led to believe, and apparently without O'Hara's permission. That makes this film more explicit than even the legendary Scorpio Nights (but I'm told many of Seiko's films then were like this...).
Finally, Efren C. Pinon's "The Death of Satan" is one of the most bizarre films I've ever seen, with Ramon Revilla duking it out with, yes The Devil Himself. Heads spin, decomposing bodies jump out of the water, a cheek is torn off...but maybe the strangest scene in the film is Revilla trying to deal with a cageful of totally naked women (breasts, buttocks, pubic hair and all) that he suddenly freed. Weird, and this from someone who finds Lynch and Cronenberg comforting.
Post by: RMN on Apr 01, 2003 at 01:01 PM
I thought Angel Aquino and Nida Blanca were very good, tho...
This time, Noel, I think I'm going to agree with you ;) ;D
Post by: keating on Apr 01, 2003 at 02:16 PM
also his children are played by Gina Alajar, William Martinez, her best friend is Chanda Romero who was killed by the legendary Anna MArie Gutierrez of "scorpio nights"fame? ;D
I forgot the title of the movie but I think it was shown back in 1984.
Bro NOel you never mentioned this movie in this thread. WAs it forgettable? ;D
Post by: RMN on Apr 01, 2003 at 08:30 PM
Is there any chances Noel or RMN that I can still find on video wherein Charo Santos was a victim and uttered the famous line to Albert Martinez "hetong P50.00 mo!",Keating, I think the best one to answer your question would be Noel, our resident film guru ;D Now, if only I've seen as many films as Noel has... ;D
also his children are played by Gina Alajar, William Martinez, her best friend is Chanda Romero who was killed by the legendary Anna MArie Gutierrez of "scorpio nights"fame? ;D
Post by: Noel_Vera on Apr 01, 2003 at 09:53 PM
Charo Santos is a victim of what? Rape? Albert Martinez is the rapist? And Albert's kids are Gina Alajar and William Martinez? Maybe the film goes back and forth in time?
I suppose I could ask around. Sounds like a Danny Zialcita film...
Post by: RMN on Apr 02, 2003 at 10:15 AM
Post by: keating on Apr 02, 2003 at 06:08 PM
Hm. Nope, doesn't ring a bell, sorry. And I'm confused:
Charo Santos is a victim of what? Rape? Albert Martinez is the rapist? And Albert's kids are Gina Alajar and William Martinez? Maybe the film goes back and forth in time?
I suppose I could ask around. Sounds like a Danny Zialcita film...
Noel, its like an epic story wherein Ms. Charo Santos emerged as the matriarch of a wealthy and powerful family in the present times.
Back in the Japanese occupation she was not raped by Albert Martinez but fall in love with him. She was a servant in their house.
He dumped her and later gave her P50 bucks. In retaliation, Charo Santos visit him during the present times and uttered that famous line.
Also there was a scene wherein a bomb explode in their house wherein the ones to blame are her children played by Gina Alajar, many others. The children want to get her fortune and money.
Post by: kakabanas on Apr 02, 2003 at 10:57 PM
Hm. Nope, doesn't ring a bell, sorry. And I'm confused:
Charo Santos is a victim of what? Rape? Albert Martinez is the rapist? And Albert's kids are Gina Alajar and William Martinez? Maybe the film goes back and forth in time?
I suppose I could ask around. Sounds like a Danny Zialcita film...
Noel, its like an epic story wherein Ms. Charo Santos emerged as the matriarch of a wealthy and powerful family in the present times.
Back in the Japanese occupation she was not raped by Albert Martinez but fall in love with him. She was a servant in their house.
He dumped her and later gave her P50 bucks. In retaliation, Charo Santos visit him during the present times and uttered that famous line.
Also there was a scene wherein a bomb explode in their house wherein the ones to blame are her children played by Gina Alajar, many others. The children want to get her fortune and money.
Hmmm. It does sound familiar ... but I can't seem to recall the title.
Post by: Noel_Vera on Apr 02, 2003 at 11:39 PM
The Lino Brocka rape movie (but almost half his films are rape movies, it seems) I know, I just can't remember the title...it was really bad, I thought (Brocka's done his share of duds; O'Hara too). Shows on Cinema 1 sometimes.
Post by: keating on Apr 03, 2003 at 06:20 AM
The Charo Santos movie is "Hindo Mo Ako Kayang Tapakan," directed by Maryo J. delos Reyes.
The Lino Brocka rape movie (but almost half his films are rape movies, it seems) I know, I just can't remember the title...it was really bad, I thought (Brocka's done his share of duds; O'Hara too). Shows on Cinema 1 sometimes.
Finally remember the title...thanks Noel! 8)
Is it possible to find this movie on video or in Cinema One?
Can you provide some tidbits on that movie? Was it a dud or forgettable?
I think this was produced by the sister of Joey Marquez via VH Films back in 1984.
Post by: Susan kelly on Apr 03, 2003 at 03:00 PM
Hm. Nope, doesn't ring a bell, sorry. And I'm confused:I think its one of those Via Hoffman films or Seiko films " Hindi mo ako kayang tapakan" Charo's line to Albert was something like this, " Hindi ito limos utang ito at babayaran kita, habang ako naman ang nakatayo at ikaw ang tinatapaktapakan ko" ;D
Charo Santos is a victim of what? Rape? Albert Martinez is the rapist? And Albert's kids are Gina Alajar and William Martinez? Maybe the film goes back and forth in time?
I suppose I could ask around. Sounds like a Danny Zialcita film...
Post by: Noel_Vera on Apr 03, 2003 at 05:44 PM
Post by: RMN on Apr 03, 2003 at 10:19 PM
Post by: kakabanas on Apr 03, 2003 at 10:22 PM
Well, with Christopher de Leon there...
I don't know what happened to him. He was so good in the 70s ... but when the 80s came, he just started over acting. Ditto with Philip Salvador.
Post by: RMN on Apr 03, 2003 at 11:33 PM
What about that famous scene in Relayson where he has a severe anurism (?) attack...
Post by: Noel_Vera on Apr 03, 2003 at 11:42 PM
When Brocka died, Philip was lost; he's totally Brocka's creature.
Mario O'Hara had a script he wanted to do with Philip. I think it's a terrific role, about a gay impersonator who has to hide out for killing a policeman's son. Title is "Garbo" (the character is very handsome, very ma-"garbo")
Post by: RMN on Apr 04, 2003 at 11:23 AM
Lolita Rodriguez was good, I think, in Tinimbang.
What I don't understand is why Mario O'Hara's Character had to died as well.
Post by: Noel_Vera on Apr 05, 2003 at 03:07 AM
Lolita Rodriguez was good in Tinimbang.
What I don't understand is why Mario O'Hara's Character had to died as well.
Well, O'Hara and Rodriguez were outcasts; the only other direction they can go is death. Brocka's saying they're too good for this world, or too good for this world to tolerate their continued existence. It's his ultimate judgement on the town he was born in (yes, he went specifically to that town to film Tinimbang as a form of vengeance--"Look you SOBs, I come back here a famous director!").
That said, he could have been subtler about it...all that slapstick involving the poor doctor...Brocka's always had trouble ending his films...
Post by: RMN on Apr 05, 2003 at 02:46 PM
Post by: Noel_Vera on Apr 05, 2003 at 03:13 PM
The Lino Brocka rape movie is Kislap sa dilim ;D
Thanks. I think ;D
Post by: indie boi on Apr 05, 2003 at 04:01 PM
I saw this movie on TV when I was eight years old and can't remember if it was a good movie. Can anyone share their views on this movie? And who directed it?
Post by: Noel_Vera on Apr 05, 2003 at 04:05 PM
The opening sequence has a plane crash. Charming, in a low budget way.
Post by: indie boi on Apr 05, 2003 at 05:01 PM
I'll try to check this movie out again. Hopefully I'll remember to watch it. Thanks for the info Noel.
Post by: kakabanas on Apr 11, 2003 at 03:23 AM
Mario O'Hara had a script he wanted to do with Philip. I think it's a terrific role, about a gay impersonator who has to hide out for killing a policeman's son. Title is "Garbo" (the character is very handsome, very ma-"garbo")
I would think this movie is supposed to be an action-drama ... but in the hands of the wrong director, I'm pretty sure it will turn into a drag-comedy filled with gay stereotypes (screaming fags and hags, cross-dressers with arms bigger than Ahnold, stronger manly facial features than Vin Diesel wearing make-ups) . ;D ;D ;D
Post by: Noel_Vera on Apr 12, 2003 at 02:18 AM
I'm pretty sure O'Hara would insist on directing it. No screaming gay sterotypes for him... ;D
Post by: kakabanas on Apr 12, 2003 at 03:25 AM
I'm pretty sure O'Hara would insist on directing it. No screaming gay sterotypes for him... ;D
Right. The producers would probably insist on Bong Revilla, Robin Padilla or Cesar Montano. Then, it would be all awkward and clumsy. They'd rather get Roderick Paulate ;D ;D ;D
Post by: acyl_halide on Apr 12, 2003 at 09:32 PM
The Lino Brocka rape movie (but almost half his films are rape movies, it seems) I know, I just can't remember the title...it was really bad, I thought (Brocka's done his share of duds; O'Hara too). Shows on Cinema 1 sometimes.
Aside from Kislap sa Dilim, he also made this movie about a serial rapist: Biktima with Sharon Cuneta, Gina Alajar. Another Sharon Cuneta-starrer by Brocka: Babangon ako't dudurugin kita used intermittently rape as a plot device...
Its interesting to note that most of Brocka's films contains rape including Insiang and Maynila Sa Kuko ng Liwanag....
Post by: Noel_Vera on Apr 12, 2003 at 11:54 PM
Post by: Noel_Vera on Apr 12, 2003 at 11:56 PM
Post by: RMN on Apr 13, 2003 at 12:50 AM
Post by: kakabanas on Apr 15, 2003 at 03:53 AM
Wasn't Viva known for ostentatious production design (mansions, flash cars, yachts etc.) and stories about the super rich and super poor?
I think back in the 80s, VIVA movies were described as "glossy" ... a reference to the graphics of their movie titles as to the cinematography bursting in colors and sparks. I have to admit it was fun watching those trailers ... and I think they succeeded in attracting viewers to the theaters because of that.
Post by: pinoymovies on Apr 15, 2003 at 09:23 PM
Wow, we are now marketing our pinoy movies in Turkey? :o
Here's the url for the poster, check it out.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3321083970&category=2322
Post by: kakabanas on Apr 15, 2003 at 09:27 PM
I was searching eBay for any Nora items and this Turkish poster for a Filipino movie starring Dan Alvaro came up. It says its probably Nora's Condemned movie directed by Mario O'Hara.
Wow, we are now marketing our pinoy movies in Turkey? :o
Here's the url for the poster, check it out.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3321083970&category=2322
A Nora movie without her face in the poster ? I doubt it. It looked more like Bagong Hari to me.
Post by: RMN on Apr 16, 2003 at 11:41 PM
Post by: RMN on Apr 17, 2003 at 08:10 PM
On Black Saturday: 'Di Nahahati ang langit.
Post by: indie boi on Apr 17, 2003 at 09:35 PM
Showing on ABS-CBN tommorow, Good Friday: Himala and Insiang.
On Black Saturday: 'Di Nahahati ang langit.
Cool. I still haven't seen Insiang. I'll definitely watch it.
Post by: commentary on Apr 17, 2003 at 10:12 PM
Post by: keating on Apr 17, 2003 at 10:18 PM
what time is each film?
Himala is 4 pm, Insiang 8:30 if I'm not mistaken.
Post by: indie boi on Apr 18, 2003 at 09:10 AM
what time is each film?
Himala is 4 pm, Insiang 8:30 if I'm not mistaken.
Cool, I'm definitely watching it then. Thanks! :)
Post by: RMN on Apr 22, 2003 at 10:40 PM
It's interesting to note that Brocka's films with Viva aren't very interesting...
Back to Brocka and Viva Films, I was in Astrovision looking at Viva VCD's when I saw this movie by Brocka (I can't remember the title but it could be Gaano kadalas ang Minsan or Maging akin ka lamang or something else.) Anyway, while I was reading the back label, the copy said to the effect "This film marked the directorial debut of Lino Brock." I wonder who writes the copy of Viva's VCD's?
Post by: kakabanas on Apr 22, 2003 at 11:05 PM
Back to Brocka and Viva Films, I was in Astrovision looking at Viva VCD's when I saw this movie by Brocka (I can't remember the title but it could be Gaano kadalas ang Minsan or Maging akin ka lamang or something else.) Anyway, while I was reading the back label, the copy said to the effect "This film marked the directorial debut of Lino Brock." I wonder who writes the copy of Viva's VCD's?
That's probably Maging Akin Ka Lamang .. with Lorna Tolentino. The label probably meant to say directorial debut of Brocka under VIVA ... oh well .. just a hunch.
Post by: indie boi on Apr 23, 2003 at 12:12 AM
Post by: kakabanas on Apr 23, 2003 at 03:47 AM
I bet the writer who wrote the blurb was either grossly misinformed, high on something, or both. ;)
Maybe. Or the one who designed the whole cover thing just tried to fit in the words that would make more impact on the dvd cover for marketing purposes ... especially if the target audience are cinematic morons ... err innocents. ;D ;D ;D
Post by: indie boi on Apr 23, 2003 at 08:25 AM
I bet the writer who wrote the blurb was either grossly misinformed, high on something, or both. ;)
Maybe. Or the one who designed the whole cover thing just tried to fit in the words that would make more impact on the dvd cover for marketing purposes ... especially if the target audience are cinematic morons ... err innocents. ;D ;D ;D
I almost spat my coffee on my monitor, K! ;D You bad! ;D ;D
Post by: kakabanas on Apr 23, 2003 at 09:20 AM
I bet the writer who wrote the blurb was either grossly misinformed, high on something, or both. ;)
Maybe. Or the one who designed the whole cover thing just tried to fit in the words that would make more impact on the dvd cover for marketing purposes ... especially if the target audience are cinematic morons ... err innocents. ;D ;D ;D
I almost spat my coffee on my monitor, K! ;D You bad! ;D ;D
Yeah ? Well, spank me indie boy ! Hahaha.
Post by: indie boi on Apr 23, 2003 at 09:26 AM
I bet the writer who wrote the blurb was either grossly misinformed, high on something, or both. ;)
Maybe. Or the one who designed the whole cover thing just tried to fit in the words that would make more impact on the dvd cover for marketing purposes ... especially if the target audience are cinematic morons ... err innocents. ;D ;D ;D
I almost spat my coffee on my monitor, K! ;D You bad! ;D ;D
Yeah ? Well, spank me indie boy ! Hahaha.
;D
Post by: pinoymovies on Apr 23, 2003 at 10:01 PM
I bet the writer who wrote the blurb was either grossly misinformed, high on something, or both. ;)
Maybe. Or the one who designed the whole cover thing just tried to fit in the words that would make more impact on the dvd cover for marketing purposes ... especially if the target audience are cinematic morons ... err innocents. ;D ;D ;D
;D Maybe or maybe not because a cinematic moron like me knows Lino Brocka's directorial debut was Lea Production's Wanted Perfect Mother starring Boots Anson Roa, Dante Rivero and Snooky. :)
Post by: kakabanas on Apr 23, 2003 at 11:29 PM
;D Maybe or maybe not because a cinematic moron like me knows Lino Brocka's directorial debut was Lea Production's Wanted Perfect Mother starring Boots Anson Roa, Dante Rivero and Snooky. :)
You know that and you call yourself a moron ? Shame on you ! You give morons a bad name ! >:(
;D ;D ;D
Post by: Noel_Vera on Apr 24, 2003 at 10:22 AM
Condemned is the best Filipino serial killer film I know, incidentally...great noir flick.
Post by: kakabanas on Apr 26, 2003 at 02:13 AM
That Turkish movie poster looks cool! I should tell the SOFIA people...
Condemned is the best Filipino serial killer film I know, incidentally...great noir flick.
What is SOFIA ? Who are they ?
Was there a serial killer in Condemned ? The only thing I remember from it was Nora and Dan were siblings .. Dan was involved in some kind of crime ... the bad guys (was it Armida ?) were after them then ... and there was a climatic scene near the end with Dan in Nora's arms ...
Post by: pinoymovies on Apr 28, 2003 at 01:27 PM
Post by: tonedeaf on May 01, 2003 at 08:39 PM
Post by: Reuven Malter on May 02, 2003 at 08:29 PM
It's rare for Pinoy action films to grip me and this was one of em! Do catch it on Cinema One.
Post by: acyl_halide on May 04, 2003 at 01:21 AM
Just watched Till There Was You. Kudos to Bb. Joyce Bernal!
I just saw Till There Was You and must say it is a very entertaining film. I think it works more as a comedy (and I mean it as a good comedy) rather than your usual rom-com although there's a bit of a formula there. If you're expecting romance...forget it. Piolo Pascual just doesn't have the charisma to match his looks like Robin Padilla for example. Anyway, I must say that Judy Ann shines in this one. I hope that Joyce Bernal will one day direct a comedy on Filipino manners...
Post by: tonedeaf on May 04, 2003 at 07:07 PM
Btw, I liked Juday's family in the movie - finally, Pen Medina as a good guy! Reminded me a lot of how Joey Reyes presented Aiko's family in May Minamahal, down to the bruskong brothers.
Post by: gurang on May 05, 2003 at 03:38 PM
Post by: indie boi on May 05, 2003 at 04:13 PM
Sabi ni Noel Vera plagiarist daw si Zialcita. I hope he'd explain it though.
Paging Mr. Vera.
Post by: X44 on May 05, 2003 at 07:53 PM
First is a Chiquito movie that starts off routine Chiquito gagfest then turns dark midway when he gets accused of rape. During the long courtroom scene, all evidence points to him as the culprit and Chiquito practically confesses to the crime , until an eleventh hour confession from a close friend turns the movie into a war movie that shows us why he didn't do it and why he was willing to be jailed for it. Apparently, a grenade blast took off his "rape tool". The thing ends with Chiquito in a seminary. The damn thing just felt so surreal and bizarre,and rather fresh, I thought.
And then there's this monster movie about a stone formation that comes alive one night and takes a young woman vacationer captive. The stone man walks with the woman slung over his/its shoulder. He/it walks and walks and walks and night becomes day and night again and there's this priceless scene of a group of policemen sneaking up on the monster to give the poor girl a pandesal to eat. Hey, why not? It's a loooon g walk. ;D In the final reel, a superhero who's a cross between Spiderman and Batman is called in to save the way. Another bizarre item, if there was one.
Anybody seen or heard of these?
Post by: indie boi on May 05, 2003 at 08:44 PM
One was a movie that had three separate stories that all starred Ariel Ureta. I think one story had him playing the role of a Filipino Popeye.
The other film is far more surreal. It was also a movie with three separate stories and starred this actress. I can't remember the first story anymore but the second story had three aliens appearing in the kitchen of the actress' house. Two of the aliens were women and one was a male with a big bald head and acts all bratty. The last story was the creepiest as it told of a handheld mirror that brings some sort of female monster and the only way to destroy the monster was to break the mirror. The climax had the mirror being shattered but at the final frame when we all think everything will be alright, there is a closeup of the mirror mending itself.
These are two movies that have more or less haunted my childhood because I don't know the titles for one but more importantly, the stories were surreal, and in the case of the second movie, was just too weird and malevolent for a child to watch.
Post by: pinoymovies on May 05, 2003 at 10:13 PM
Jeez, those obscure Pinoy films you mentioned made me think of these two movies I would always catch in the afternoons of my childhood.
One was a movie that had three separate stories that all starred Ariel Ureta. I think one story had him playing the role of a Filipino Popeye.
Si Popeye at Iba Pa ang title of the movie made in 1972 by National Artist Ishmael Bernal. Bernal also directed Ariel Ureta in Zoom, Zoom Superman.
Post by: X44 on May 06, 2003 at 02:33 AM
indie, I remember that Popeye movie , too. The third story's Django, I think. The second one Dracula was set in a hospital and actually creeped me out. I don't think it's ever been done again(least not locally) , a vampire story set entirely in a hospital. Hmmm. . . . :)
The mirror thing sounds pretty interesting.
Anybody remember this anthology movie where a girl's hit and run victim comes back to haunt her? (The last story is more famous, an abotrted baby thrown into the swamp comes out of it this muddy creature) Reminds me of Creepshow 2. Wonder if King accidentlaly saw that movie , too.
Post by: indie boi on May 06, 2003 at 09:59 AM
Pareng X, that popeye movie was one of the staples of my childhood TV viewing, lagi kasing pinapalabas yun in the afternoons at Channel 13. Interesting yung mga movies that you mentioned and the second movie you described sounds a bit familiar. My biggest mistake when I was a kid was that I never paid attention to the titles.
Here's another movie that I want to find out the title. It stars Babalu who acquired faith healing powers. He knows his treatment is successful if an old hermit appears near the head of the patient. But due to his popularity and the wealth, Babalu changed into a proud man. This led to this scene where he was trying to heal a man and the hermit would always appear near the patient's feet, a sign of the hermit abandoning him.
Oh, and here's another one. This movie was shot in the late 50's (i think). It's a gothic fantasy that, I think, starred Juan Rodrigo. The setting was this European style countryside where an evil Lord of sorts would indicate that he is still powerful through a black rose that a damsel carries with her inside a castle. The scene I remember the most was that the villain turns into this giant as he battles Rodrigo.
Anyone remember this?
Jeez, this just shows that the philippines needs to catalogue our local films.
Post by: gurang on May 06, 2003 at 10:15 AM
Jeez, this just shows that the philippines needs to catalogue our local films.
I've noticed that a few Pinoy films have now been registered with IMDB, which does accept entry submissions. I have made a few entry contributions as well. Perhaps there will no longer be a need to wait for a national registry for local films, but if users will just contribute what they know to IMDB, then, at least, a workable database can be maintained.
Post by: indie boi on May 06, 2003 at 10:32 AM
I've noticed that a few Pinoy films have now been registered with IMDB, which does accept entry submissions. I have made a few entry contributions as well. Perhaps there will no longer be a need to wait for a national registry for local films, but if users will just contribute what they know to IMDB, then, at least, a workable database can be maintained.
That's true. Contributions from people to IMDB is a good start. But I bemoan the old films that most of us never watched, or, as this series of posts indicate, we had seen when we were children and, unfortunately, had forgotten important details. At this point, I myself doubt if a complete registry of Filipino films can still be achieved. Film preservation was a very alien concept to producers up until the mid-80s.
Post by: TSGarp on May 06, 2003 at 11:08 AM
Here's another movie that I want to find out the title. It stars Babalu who acquired faith healing powers. He knows his treatment is successful if an old hermit appears near the head of the patient. But due to his popularity and the wealth, Babalu changed into a proud man. This led to this scene where he was trying to heal a man and the hermit would always appear near the patient's feet, a sign of the hermit abandoning him.
I believe the title of this movie was Doctor,Doctor, I am sick
.
Post by: indie boi on May 06, 2003 at 11:11 AM
Post by: X44 on May 06, 2003 at 11:16 AM
Here's another movie that I want to find out the title. It stars Babalu who acquired faith healing powers. He knows his treatment is successful if an old hermit appears near the head of the patient. But due to his popularity and the wealth, Babalu changed into a proud man. This led to this scene where he was trying to heal a man and the hermit would always appear near the patient's feet, a sign of the hermit abandoning him.
I know this. Babalu's character's name is Macario and it's based ,chapter and verse practically, on this old Mexican movie called Macario from the 50s. I think it's title is Doctor Docotor I Am Sick but I could be wrong.
What I remember vividly is this gag with Panchito and a bar of chocolate he refuses to pay for. I don't think the joke will work written down here, though. :)
There's also this Rogelio de La Rosa priod horror movie I remember called Taong Paniki where he's this pianist who turns into a giant bat at night.
Post by: indie boi on May 06, 2003 at 11:20 AM
I'll be asking my friend who works in 13 if they still have copies of those really old movies and urge him to air them when they do relaunch PPP.
Post by: X44 on May 06, 2003 at 11:21 AM
I wonder how the Babalu movie ended? The Mexican film took a very dark turn near the end. But the Babalu movie was a practical carbon, albeit funnier, I thought. There was also a chicken-eating scene in the Babalu film, right?
Post by: indie boi on May 06, 2003 at 11:40 AM
What I really want to track down though was the movie I mentioned with the actress and the mirror. All three stories were real headtrips. Weird talaga, especially the story with the three aliens. I also remember that the story started at an office and how they see three beings flying in the sky. Oh! and the actress turns out to be some superhero of sorts.
Post by: keating on May 06, 2003 at 04:20 PM
Jeez, those obscure Pinoy films you mentioned made me think of these two movies I would always catch in the afternoons of my childhood.
One was a movie that had three separate stories that all starred Ariel Ureta. I think one story had him playing the role of a Filipino Popeye.
The other film is far more surreal. It was also a movie with three separate stories and starred this actress. I can't remember the first story anymore but the second story had three aliens appearing in the kitchen of the actress' house. Two of the aliens were women and one was a male with a big bald head and acts all bratty. The last story was the creepiest as it told of a handheld mirror that brings some sort of female monster and the only way to destroy the monster was to break the mirror. The climax had the mirror being shattered but at the final frame when we all think everything will be alright, there is a closeup of the mirror mending itself.
These are two movies that have more or less haunted my childhood because I don't know the titles for one but more importantly, the stories were surreal, and in the case of the second movie, was just too weird and malevolent for a child to watch.
Bro indie boi...I think the woman was TRIXIA GOMEZ as Super Elektrika or something like that. Her villain is Chanda Romero who has a mirror as her powerful device against Elektrika.
I've watch this when I was small also in Channel 13. THis is what I call one of the best FILIPINO B-MOVIES.
The effects are amazing and fun to watch!
And the alien story are really so weird!
I doubt if they could duplicate or repeat those kind of movies again....
My childhood memories always good to look back and recall!
Post by: X44 on May 06, 2003 at 04:51 PM
Jimmy Santos played a Mummy here and Gina Pareno played an ape-woman. I remember there was a big fuss over the make-up which was Planet of the Ape-ish.
Trixia Gomez used to be quite the hottie,eh? ;D
Post by: keating on May 06, 2003 at 06:42 PM
I was scared while watching the mummy running after...sorry I forgot the next scene already.
Will somebody on channel 13 show it again, paging...indie boi!
This was many...many...many...years ago!
Yup...Trixia Gomez was one of the sex symbols before.
70's yata ito, was she in the cast of TEMPTATION ISLAND with Dina Bonnevie, Azenith Briones? ???
Post by: X44 on May 06, 2003 at 07:16 PM
Post by: indie boi on May 06, 2003 at 07:17 PM
Coolness! Galing mo Keating! How can you have remembered that? Pati ikaw X, supporting characters naaalala mo pa!
I'll ask my friend at 13 baka makakuha ako ng copy if they still have it. Kahit na magkano siguro babayaran ko. ;D
And yes, Trixia Gomez was absolutely one hot babe. I've even come to associate the name Trixia with someone who is sensual.
Maybe someone here can post a picture of Ms. Gomez. :)
Post by: keating on May 06, 2003 at 07:23 PM
And baka pwede i-copy mo na rin ako? ;D
I would like to watch it again complete with Dolby-surrond sound on my little home theatre at home.
Post by: indie boi on May 06, 2003 at 07:30 PM
Post by: keating on May 06, 2003 at 08:26 PM
No problem pare, I'll ask my friend if it's possible. I'll keep you posted.
Thanks indie boi. 8)
Post by: TSGarp on May 06, 2003 at 10:31 PM
Oops, Garp beat me to it! :)
I wonder how the Babalu movie ended? The Mexican film took a very dark turn near the end. But the Babalu movie was a practical carbon, albeit funnier, I thought. There was also a chicken-eating scene in the Babalu film, right?
Ok lang yun, X44, napabilis lang pagtype ko. ;D
I don't know why I still remember the final scene of this movie, I was like 10 years old when I saw this movie on tv. Anyway it ends when the old man took Babalu into a cave filled with lighted candles. The old man gave Babalu a candle that was about to filcker out and die. Babalu was told that all the candles in the cave represents the lives of the people. The one he's holding was his own candle. Frightened, he ran out of the the cave holding his candle, then stops and waits for the candle to die out.
Post by: indie boi on May 06, 2003 at 10:36 PM
Ok lang yun, X44, napabilis lang pagtype ko. ;D
I don't know why I still remember the final scene of this movie, I was like 10 years old when I saw this movie on tv. Anyway it ends when the old man took Babalu into a cave filled with lighted candles. The old man gave Babalu a candle that was about to filcker out and die. Babalu was told that all the candles in the cave represents the lives of the people. The one he's holding was his own candle. Frightened, he ran out of the the cave holding his candle, then stops and waits for the candle to die out.
Thanks for reminding me about that scene, Garp! Now I remember why that film stuck to my head. It was because of that sad ending (well, I think it was a sad ending). I think it was the first comedy I saw that ended on a sad, if enigmatic, note.
Post by: TSGarp on May 06, 2003 at 10:43 PM
Thanks for reminding me about that scene, Garp! Now I remember why that film stuck to my head. It was because of that sad ending (well, I think it was a sad ending). I think it was the first comedy I saw that ended on a sad, if enigmatic, note.
You're welcome, IndieBoi ;D
Post by: pinoymovies on May 07, 2003 at 09:54 PM
I miss the guy too gurang. It was a pleasant treat when I caught May Lamok sa Loob ng Kulambo yesterday. The lightning quick repartee was still as funny. Zialcita was well-known for his Janice de Belen movies then but I think he is the master of the sex-comedy. Too bad he had to ruin his career with drugs.
Sabi ni Noel Vera plagiarist daw si Zialcita. I hope he'd explain it though.
Paging Mr. Vera.
Since Noel Vera has not yet responded to this post, let me share what I read about the plagiarism issue with Zialcita.
In 1979, Danny Zialcita's Ikaw at ang Gabi won URIAN awards for Best Picture and Best Director. It was later found out that the movie was a blatant copy of a TV movie called Torn Between Two Lovers from Hollywood. Some sequences were copied shot by shot. Another Zialcita movie Si Malakas, Si Maganda at si Mahinhin was also a direct copy of an American film called A Different Story. Most critics do agree that Zialcita's versions were much improved compared to the originals. Danny Zialcita is best remembered for his 'malulutong' na dialogues in his movies and for turning Dindo Fernando into gay in Mahinhin series and Nora Aunor a lesbian in T-Bird at Ako (http://www.geocities.com/pinoymovies/tbirdatako.html). Other Zialcita movies are Langis at Tubig with Vilma Santos and Dindo Fernando, Tinimbang ang Langit with Christopher de Leon and Kuh Ledesma, Kabiyak with Pinky de Leon, Nagalit ang Buwan sa Haba ng Gabi with Laurice Guillen and Dear Heart with Sharon Cuneta and Gabby Concepcion.
Post by: indie boi on May 07, 2003 at 10:21 PM
I didn't know Zialcita helmed T-Bird at Ako. Ricky Lee had an amusing anecdote about La Aunor and Santos while shooting this movie. Apparently, during one of the shooting days Santos arrived first on the set and had to wait for Aunor. On the next shooting day, to get even, Santos came deliberately late, so obviously Aunor had to wait. To resolve the issue of lateness, the alalays of both camps had to use walkie-talkies to keep each other informed as to how near they are to the set so that both stars will arrive at exactly the same time. :)
Post by: X44 on May 08, 2003 at 12:00 AM
Ok lang yun, X44, napabilis lang pagtype ko. ;D
I don't know why I still remember the final scene of this movie, I was like 10 years old when I saw this movie on tv. Anyway it ends when the old man took Babalu into a cave filled with lighted candles. The old man gave Babalu a candle that was about to filcker out and die. Babalu was told that all the candles in the cave represents the lives of the people. The one he's holding was his own candle. Frightened, he ran out of the the cave holding his candle, then stops and waits for the candle to die out.
Yeah,I remember this now.
And this is the exact same ending as the Mexican movie!
I love it when thing slike this happen. . .hehehe. . . :D
Major thanks, Garp! ;D
Post by: gurang on May 08, 2003 at 01:22 PM
Since Noel Vera has not yet responded to this post, let me share what I read about the plagiarism issue with Zialcita.
In 1979, Danny Zialcita's Ikaw at ang Gabi won URIAN awards for Best Picture and Best Director. It was later found out that the movie was a blatant copy of a TV movie called Torn Between Two Lovers from Hollywood. Some sequences were copied shot by shot. Another Zialcita movie Si Malakas, Si Maganda at si Mahinhin was also a direct copy of an American film called A Different Story. Most critics do agree that Zialcita's versions were much improved compared to the originals. Danny Zialcita is best remembered for her 'malulutong' na dialogues in his movies and for turning Dindo Fernando into gay in Mahinhin series and Nora Aunor a lesbian in T-Bird at Ako (http://www.geocities.com/pinoymovies/tbirdatako.html). Other Zialcita movies are Langis at Tubig with Vilma Santos and Dindo Fernando, Tinimbang ang Langit with Christopher de Leon and Kuh Ledesma, Kabiyak with Pinky de Leon, Nagalit ang Buwan sa Haba ng Gabi with Laurice Guillen and Dear Heart with Sharon Cuneta and Gabby Concepcion.
If he merely adapted those two US movies then transliterated it to a local setting, I don't think there's anything wrong with that. If he adapted exact scenes, he could have done it as an acadmic exercise (just like Van Sant in Psycho) and not because he had no original ideas.
is he still alive, btw?
Post by: indie boi on May 08, 2003 at 07:10 PM
Post by: gurang on May 10, 2003 at 06:53 PM
Post by: indie boi on May 10, 2003 at 06:59 PM
I hate it when this happens. :(
Post by: robertj on May 10, 2003 at 08:57 PM
The guy who played tatang de vega's name is at the tip of my tongue. I can't seem to spit it out. He was one of the more acclaimed senior actors then. He was also a director. I can see his face in my mind but the name truly escapes me or his other works.pare baka makagat mo pa dila mo si Tony Santos Sr. ata tinutukoy mo.
I hate it when this happens. :(
Post by: indie boi on May 10, 2003 at 09:30 PM
Post by: gurang on May 12, 2003 at 12:59 AM
I think he also played Melanie Marquez's dad, Temyong Marquez, in The Melanie Marquez Story. I remember wondering why Temyong didn't play himself, while Totoy Marquez of Alaska did play himself as Melanie's brother. There was one scene wherein Tony Santos smashes a beer bottle on Totoy Marquez's face, and I said, Totoy must be thinking at that moment, I left the PBA for this?
Post by: indie boi on May 12, 2003 at 07:43 AM
Oh, and she performed a dance number. But she chose this traditional spanish dance that lulled the audience to sleep.
Post by: GL2814 on May 13, 2003 at 06:16 AM
I still remember Marquez's pretty awkward speech when she received the best actress award for the movie at the MMFF. Her infamous inarticulateness showed itself again that night. I can't remember everything verbatim, but she mentioned something about the Sto. Nino and then showed her son as the sto. nino or something. She must've been drunk.
Oh, and she performed a dance number. But she chose this traditional spanish dance that lulled the audience to sleep.
Aha! And one time she would also like to thank God for 'my long-legged.'
Post by: bedan_debater on May 15, 2003 at 10:41 AM
Jaguar
Maynila, sa Kuko ng Liwanag
Ora Pronobis
Oro, Plata, Mata
Himala
Muro-Ami
Tinimbang Ka Ngunit Kulang
These are my favorite Filipino films
Post by: gurang on May 24, 2003 at 11:50 AM
Post by: keating on May 24, 2003 at 12:42 PM
No need to mention it. ;D ;D ;D
Post by: gurang on May 24, 2003 at 11:57 PM
It was a forgettable flick...Bro Gurang.
No need to mention it. ;D ;D ;D
Haven't seen it myself. But a friend of mine was recounting it, and she couldn't remember the name.
Post by: RMN on May 28, 2003 at 02:45 PM
Mano Po.
Post by: Noel_Vera on May 28, 2003 at 02:57 PM
I hear that Eric Matti is set to direct the sequel to
Mano Po.
Good luck!
Post by: keating on May 28, 2003 at 04:19 PM
I wonder why Jessica Zafra wants this movie so much, any comment on this sexy flick...Bro Noel? ???
Back when I was small my memories in this movie was the yummy Dina Bonnevie stranded in an island with a yaya and other bunch of beauties.
I wonder also what happened to that plan by Flip Movie Club?
Post by: Noel_Vera on May 29, 2003 at 03:07 PM
It wasn't Dina Bonnevie who had the maid...can't remember it now, but it wasn't Dina...
Post by: keating on May 29, 2003 at 07:19 PM
Post by: Noel_Vera on May 30, 2003 at 01:11 AM
So Joey Gosiengfiao can beat Pedro Almodovar for TEMPTATION ISLAND, Noel? ???
In a red second.
Post by: RMN on Jun 03, 2003 at 08:46 PM
Post by: gurang on Jun 03, 2003 at 09:29 PM
Eddie Romero has just been named National Artist for Film. I wonder who'll be next???
RMN (or anyone), gotta link for this? Am very curious who else got in, especially among the Lit people. Wala pa sa Inq7 or ABS websites.
Post by: gurang on Jun 04, 2003 at 12:02 PM
RMN (or anyone), gotta link for this? Am very curious who else got in, especially among the Lit people. Wala pa sa Inq7 or ABS websites.
The new National Artists are:
Filipino painter Jose Joya, stage designer Salvador Bernal, poet, literary critic and former head of the National Commission for Culture and the Arts (NCCA) Virgilio "Rio" Almario, multi-awarded director Eddie Romero and folklorist Alejandro Roces.
Really really glad about Dean Joya, who is my favorite Pinoy painter. He was overlooked for many years due to personal issues which I don't recall now. Too bad he didn't live to see this day.
I wonder if the Roces choice will be controversial. Some years ago, when they chose the late Carlos Quirino, a historian and Ayala Alabang neighbor of Ramos, a lot of writers complained, saying that Quirino's output was not literary enough. Roces though might have been honored for his tireless promotion of traditional forms of Pinoy culture. And his ties with the Macapagal family did help.
Romero, I suppose, is being honored for works such as Ganito Kami... and not for Women in Chains or Beast of Blood. Haven't seen any of Romero's international productions, though I hear they do have a certain style to them.
National Artists get to have really cool funerals, with caissons and gun salutes and stuff. Nothing though like in France, where the funerals of great artists are actually carried live on national television.
Post by: Noel_Vera on Jun 04, 2003 at 12:42 PM
Roces left a bad taste in the mouth when he was chairman of the MTRCB; his unceremonial booting was almost karmaishly satisfying.
Post by: gurang on Jun 04, 2003 at 12:50 PM
Roces left a bad taste in the mouth when he was chairman of the MTRCB; his unceremonial booting was almost karmaishly satisfying.
Roces is quaint.
They probably made him National Artist to apologize for the embarassing way he was fired from the MTRCB.
Post by: Noel_Vera on Jun 04, 2003 at 01:01 PM
Post by: gurang on Jun 04, 2003 at 01:09 PM
PEN was founded by F. Sionil Jose. Oh well, the company he keeps...
Post by: gurang on Jun 06, 2003 at 03:57 PM
The movie starred Rina Reyes as the lover. Have no idea though who directed this, etc. From the end credits, it seems to have been a 1992 MMFF entry. Please advise, I'm interested to know more about this film. Thanks.
Post by: keating on Jun 06, 2003 at 04:01 PM
I agree with Jessica, it's a camp classic. Surreal camp with shocking colors before Pedro Almodovar thought to do it.
It wasn't Dina Bonnevie who had the maid...can't remember it now, but it wasn't Dina...
Finally saw it on vhs. The print was still excellent.
Noel and Jessica are right! It's pure campiness! The style, craftmanship of Joey Gosiengfiao.
She, er he is the MOST FLIRTY DIRECTOR OF PHIL. CINEMA.
What makes the film memorable is the performance of one of the supporting cast...the wacky DEBORAH SUN as the
yaya of Bambi Arambulo!
And the sexiness of the lead actresses...the yummy DINA BONNEVIE, AZENITH BRIONES & BAMBI ARAMBULO.
;D
Post by: RMN on Jun 06, 2003 at 09:13 PM
Help! Last night, on Cinema One, I caught the last 5 minutes of what I suspect to be a short film. (It aired between Kisapmata, which I missed, and Aangkinin kita, a Stella Strada film) What I saw was rather interesting: the film is apparently set in the 1950s. From the little that I saw, the story involved an intellectual sort of person joins the underground, and his lover, who eventually is forced to betray him to the authorities at gunpoint. Before the end, the man gets to listen to a lot of radio reports, including that of a UFO sighting, interspersed with 50s music. In the end, the couple are led away by the agents, and the final scene shows a newspaper headline. The lead headline proclaims the fall of Dien Bien Phu to the communists, while a smaller headline notes the mysterious disappearance of the couple, suspected to have been a UFO abduction.
The movie starred Rina Reyes as the lover. Have no idea though who directed this, etc. From the end credits, it seems to have been a 1992 MMFF entry. Please advise, I'm interested to know more about this film. Thanks.
I've seen this twice already. Its title is MAALINSANGAN ANG GABI and was directed by Cesar Hernando.
Post by: gurang on Jun 06, 2003 at 09:57 PM
I've seen this twice already. Its title is MAALINSANGAN ANG GABI and was directed by Cesar Hernando.
Thanks RMN. I'll find out more about it.
Post by: milkeemee2 on Jun 07, 2003 at 12:09 AM
Post by: Noel_Vera on Jun 07, 2003 at 03:18 PM
How about you Noel, have you been invited to appear in any movie? I will definitely watch it.
Me, respected figure? Ha! Well, I was one of Albert Martinez's patients in Rizal sa Dapitan, you can see my arm but only parts of my head when he's treating patients, just before he meets his good priest friend. I also wrote part of the script.
Post by: ROCKaBILLY on Jun 08, 2003 at 04:47 PM
Post by: ROCKaBILLY on Jun 08, 2003 at 05:09 PM
hindi ba filipino film ang topic dito or is there a thread somewhere focusing on these vintage films. let me know naman. i've been a collector of vintage films and i have an extensive library of vintage film memorabilia like posters stills magazines and video tapes (tho mostly recorded fromt tv. but i have early joseph estrada, dolphy, carmen rosales, dela rosa brothers fernando poe- more)
sana if you people are interested we can put up website on vintage film and i'm willing to be a part of it. just a thought. kasi wala tayong archive dito sa pilipinas tulad sa ibang bansa showing these cultural heritage called pelikulang pilipino. there were several attempt in the past to put up an archive pero hilaw na hilaw. and because it is politically and financially motivated walang nangyayari-puro ningas kugon. sayang lang. when a person need to research on filipino films wala siyang mapuntahan. i think its time na people like us na concerned sa pelikulang pilipino to initiate and do something about it. what do you think people?
Post by: indie boi on Jun 08, 2003 at 10:00 PM
Post by: RMN on Jun 08, 2003 at 10:47 PM
Post by: ROCKaBILLY on Jun 09, 2003 at 12:32 AM
The interest in films from the 40's to the 60's is there. The problem is logistics as these films are hard to find. It's cool that you have that collection. I'd love to see it one of these days. :)
why don't we organize an eb or a club wherein we can meet regularly and talk about films and maybe do film showing every meeting. lets do something for filipino film because nobody else is doing it.
Post by: DViant on Jun 09, 2003 at 12:53 AM
why don't we organize an eb or a club wherein we can meet regularly and talk about films and maybe do film showing every meeting. lets do something for filipino film because nobody else is doing it.What type of Pinoy film? Yung boldies? ;)
It would be interesting to invite the film makers & even the stars during these Pinoy Film 'thons.
Post by: ROCKaBILLY on Jun 09, 2003 at 01:11 AM
Post by: Noel_Vera on Jun 09, 2003 at 02:00 AM
Great if you want to put up a new group, if you have the resources, but if you don't medyo mahirap. Have you tried contacting established groups? SOFIA for one?
Post by: ROCKaBILLY on Jun 09, 2003 at 09:28 AM
Rockabilly:
Great if you want to put up a new group, if you have the resources, but if you don't medyo mahirap. Have you tried contacting established groups? SOFIA for one?
hi noel,
i'm not putting up a new group. its just an idea na people like us who cares so much for the welfare of fil film do sometjhinhg about it. its not as formal as establishing an organization but rather a loose bonding of fil film lovers who can meet regularly discuss and enjoy each others company and contribution and maybe share the passion for films. now if something concrete comes out of this gathering then well and good, but the primary goal is to talk and enjoy fil films. maybe that's the first step.
Post by: gurang on Jun 09, 2003 at 10:07 AM
hi noel,
i'm not putting up a new group. its just an idea na people like us who cares so much for the welfare of fil film do sometjhinhg about it. its not as formal as establishing an organization but rather a loose bonding of fil film lovers who can meet regularly discuss and enjoy each others company and contribution and maybe share the passion for films. now if something concrete comes out of this gathering then well and good, but the primary goal is to talk and enjoy fil films. maybe that's the first step.
I suggest likewise that a web presence is vital if you want to perk up interest in old Pinoy films. Web presence can be established even without need of any establishing any formal association. I am certain that there are many people out there, such as myself, who occasionally search the web for resources on old Filipino movies, only to find none or the bare minimum. I don't think you would need to possess an extensive database at first to be able to start-up this project: just share your love of these films online. (perhaps listing those films that you've seen together with a brief synopsis and maybe even a review, as well as prominent actors and filmmakers of that era) Once you do that, I am certain that there will be others out there who would be interact with you, sharing their own information and insights. I suspect that a lot of those who would be able to provide meaningful resources are situated abroad, and online presence would facilitate their involvement in such a project that ultimately could help provide an extensive resource base of these old Filipino movies.
I am sure, if you ask for it, that there will be people here at PinoyDVD who would be able to assist you in creating such a website, or providing some amount of resources. I think that "film appreciation societies" are fine and complementary, but I'm not sure they can do so much apart from providing a venue for social interaction among fellow film-lovers. Another possible problem about such groups is that anybody who is interested in learning about such films from that era, but have not seen enough movies, may be intimidated to immediately join such a group, which would, as expected, be composed mainly of people who are already well-versed in such films. An online presence would be of immense assistance to such "beginners". Much as I am ashamed to admit it now, my initial interest in film was piqued after purchasing a copy of Leonard Maltin's Guide to Films, and realizing that there was a world of film out there that I wouldn't be exposed to in the course of my daily life.
Personally, I love listening to old Filipino movies, because they don't write dialogue in that way anymore. (Much as I enjoy listening to Blas Ople speak, undesirable his views may be at times). My sensibilities though are more modern, and jaded. More importantly, we need to systematize and popularize the notion of Filipino film history, and I'd be glad to assist any efforts towards the same.
Post by: indie boi on Jun 09, 2003 at 12:29 PM
Post by: pinoymovies on Jun 09, 2003 at 01:03 PM
By the way, UP Film Center has a database of pinoymovies. It doesn't go as far back as 1950's though.
Post by: gurang on Jun 09, 2003 at 02:20 PM
Likewise suggest, apart from relying on the resources that you already possess, you may also want to refer to existing books on the subject, to provide at list the initial list of films in the database. I mentioned in a different thread some time ago about the book I read before about Dona Sisa and the LVN days. No need to plagiarize these books, but you could cull from them the list of these films.
And I think there would be enough people here who might be willing to assist in inputting the data. I myself could volunteer to input some if someone were to lend me the needed books. ;D
Post by: ROCKaBILLY on Jun 09, 2003 at 04:40 PM
i really am glad to meet all of you even virtually. you have given me enough encouragement to pursue this endeavor. but one man can't do it alone, i know by bonding together we can in our small way make this a possibility. but we need to form a core group. even informally. i will start investigating the possibility of doing an on-line data base. lets continue to interact . any input on how to start the site please feel free to contribute this is for all of us. to the first ten who'll be involve i'm giving away a limited edition calendar i produced in the year 2000 (millenium edition) the date is unusable because its 3 years ago but the images and information there is worth keeping as a reference and as a memorabilia.
thanks again people.
Post by: ROCKaBILLY on Jun 09, 2003 at 04:45 PM
For free web pages and ease of use, try Yahoo Geocities. I started a Nora Aunor Tribute Website and did not cost me a penny.
By the way, UP Film Center has a database of pinoymovies. It doesn't go as far back as 1950's though.
hey pare if you need anything about nora i have a lot of photos and materials. just let me know.
Post by: keating on Jun 09, 2003 at 08:15 PM
hi noel,
i'm not putting up a new group. its just an idea na people like us who cares so much for the welfare of fil film do sometjhinhg about it. its not as formal as establishing an organization but rather a loose bonding of fil film lovers who can meet regularly discuss and enjoy each others company and contribution and maybe share the passion for films. now if something concrete comes out of this gathering then well and good, but the primary goal is to talk and enjoy fil films. maybe that's the first step.
That's a nice idea...bro Rockabilly!
Let's have a FILIPINO FILMS EYEBALL headed by you followed by Noel and other movie enthusiasts here! :)
Post by: RMN on Jun 09, 2003 at 08:23 PM
Post by: keating on Jun 09, 2003 at 08:30 PM
Post by: ROCKaBILLY on Jun 09, 2003 at 11:51 PM
When do we start? :D
nice to hear from people who's enthusiastic about something as worthwhile as films. mabuhay tayong lahat! where can we hold it lets all vote kung saan mas convenient sa lahat. sir noel, saan ba
suggestion mo. ikaw yata ang pinaka-pro sa lahat e.
ako pwedeng makati or t.morato.
Post by: kakabanas on Jun 10, 2003 at 12:50 AM
nice to hear from people who's enthusiastic about something as worthwhile as films. mabuhay tayong lahat! where can we hold it lets all vote kung saan mas convenient sa lahat. sir noel, saan ba
suggestion mo. ikaw yata ang pinaka-pro sa lahat e.
ako pwedeng makati or t.morato.
I feel left out. I wish I could join but that's just not possible. :'( :'( :'(
Post by: RMN on Jun 10, 2003 at 12:39 PM
Post by: ROCKaBILLY on Jun 10, 2003 at 02:56 PM
um, isn't Noel out of the country???
ganon ba sori di ko know e
Post by: kakabanas on Jun 11, 2003 at 03:25 AM
ganon ba sori di ko know e
Noel is based in the Philippines. He travels once in a while to attend film festivals or film symposium or whatever ... anything involving Mario O'Hara. ;D ;D ;D
Post by: Noel_Vera on Jun 11, 2003 at 05:59 AM
I'll try help out what I can.
Post by: keating on Jun 11, 2003 at 06:33 AM
I've moved. I'm now in the East Coast. I'll be with you guys in spirit...and keep me informed what happens.
I'll try help out what I can.
Will it be for good...Noel?
Good luck on your life there.
Post by: indie boi on Jun 11, 2003 at 08:26 AM
Anyhoo, good luck, Noel! ;D
Post by: kakabanas on Jun 11, 2003 at 10:11 AM
I've moved. I'm now in the East Coast. I'll be with you guys in spirit...and keep me informed what happens.
I'll try help out what I can.
I didn't know that. I stand corrected then.
Where in the East Coast? Near gonz?
Post by: DViant on Jun 11, 2003 at 10:22 AM
Noel: Question po. Are you a professional film critic? Or write reviews for mags or papers?
Post by: Noel_Vera on Jun 11, 2003 at 10:32 AM
I'd say I'll be here for at least three years.
Post by: kakabanas on Jun 11, 2003 at 08:46 PM
I don't know what 'professional' means. I've been writing for various newspapers and magazines, for pay per article, since 1994. I've never been a regular staff, always contributing writer. I act as consultant and occasional programmer for a few festivals--Udine, Hong Kong, Singapore, New Delhi, Cinemanila, on occasion.
I'd say I'll be here for at least three years.
Saan ka nga sa East Coast sabi eh ? >:(
Post by: Mrs. T on Jun 11, 2003 at 09:31 PM
Saan ka nga sa East Coast sabi eh ? >:(
Sagutin mo na nga boss Noel... at naiinis na si kaka!
Post by: Sen.Almondski on Jun 11, 2003 at 11:34 PM
Sagutin mo na nga boss Noel... at naiinis na si kaka!
Ano kaya ang hitsura ni kaka kapag naiinis ???
Post by: kakabanas on Jun 12, 2003 at 12:15 AM
Ano kaya ang hitsura ni kaka kapag naiinis ???
You don't wanna know. Not a pretty sight. >:( >:( >:(
Post by: Noel_Vera on Jun 12, 2003 at 04:59 AM
Post by: rse on Jun 14, 2003 at 02:48 AM
Post by: RMN on Jun 14, 2003 at 02:14 PM
Post by: RMN on Jun 14, 2003 at 02:28 PM
Leopoldo Salcedo and Carlos Padilla, Jr. star in ''Huling Mandirigma.'' In the film, a tribal leader adopts a warlike orphan boy and disowns his peace-loving son, who leaves the tribe. When he's grown up, the son returns to the tribe, but the intolerant adopted heir distrusts him. It was directed by Eddie Romero
Post by: rse on Jun 15, 2003 at 06:58 AM
Post by: Noel_Vera on Jun 16, 2003 at 01:44 AM
That said, critic Hammi Sotto considered it Brocka's greatest film. Go figure.
Post by: RMN on Jun 16, 2003 at 09:10 PM
Post by: Noel_Vera on Jun 17, 2003 at 12:32 AM
And it's surprising how much of Gumapang seems to be filched from Bagong Hari, from the Eddie Garcia politico (Joel Torre in the latter) to his Dina Bonnevie mistress (Carmi Martin) and Christopher de Leon as her assassin boyfriend (Dan Alvaro). Only Bagong Hari is darker, more intense, and has great action scenes. I've said this before and I'll say this again, Brocka can't direct action to save his life.
Post by: RMN on Jun 17, 2003 at 10:16 PM
*SPOILER*
There's this movie scene thats stuck in my mind but I can't recall the film. Dina Bonnevie and Dindo Fernando are in a bathtub (at Legaspi Towers) when Joel Torre barges in and shoots them,
Post by: kakabanas on Jun 18, 2003 at 02:02 AM
Post by: Noel_Vera on Jun 18, 2003 at 06:28 AM
I had the VCD but Gumapang was so discouraging I didn't watch it. I will, eventually.
"There's this movie scene thats stuck in my mind but I can't recall the film. Dina Bonnevie and Dindo Fernando are in a bathtub (at Legaspi Towers) when Joel Torre barges in and shoots them"
That's Init sa Magdamag! That's a great film, Laurice's best, and one of my favorite erotic films...
Oh, can you put a spoiler warning on that?
Post by: RMN on Jun 18, 2003 at 03:21 PM
"How about Babangon ako't dudurugin kita"
I had the VCD but Gumapang was so discouraging I didn't watch it. I will, eventually.
"There's this movie scene thats stuck in my mind but I can't recall the film. Dina Bonnevie and Dindo Fernando are in a bathtub (at Legaspi Towers) when Joel Torre barges in and shoots them"
That's Init sa Magdamag! That's a great film, Laurice's best, and one of my favorite erotic films...
Oh, can you put a spoiler warning on that?
Yun pala yun. Wow! This always happens to me. I watch a Filipino film without getting the title only to find out later that ive actually seen a "classic".
Call me crazy but I kinda liked Babangon even if it deals with revenge and is obviously not one of Brocka's best works (though I've yet to see a lot of them).
Please correct me but is Gumapang the one where Charo Santos plays an Imelda like character?
Post by: kakabanas on Jun 18, 2003 at 10:28 PM
Please correct me but is Gumapang the one where Charo Santos plays an Imelda like character?
Yes ... from the hair to the clothes. There was even a scene where Eddie Garcia was campaigning and they sang a duet. Dead on imitation. :D
Post by: Noel_Vera on Jun 19, 2003 at 01:55 AM
Post by: kakabanas on Jun 19, 2003 at 03:09 AM
Charo's a deliberate imitation. Check out Elvira Manahan's in Bagong Hari--I like that one much better.
I still like Tessie Tomas' Imelda in that foreign produced first Edsa revolution movie. She can be a good dramatic actress ...
Post by: Noel_Vera on Jun 19, 2003 at 04:26 AM
Charo's good and all, I'll say that much.
Post by: ßartmaniac on Jun 19, 2003 at 05:22 PM
I still like Tessie Tomas' Imelda in that foreign produced first Edsa revolution movie. She can be a good dramatic actress ...
Tomas was even nominated for an Emmy for her performance as Mrs. Marcos in that HBO mini-series. She was there at the awards ceremony but didn't win. Well being recognized was COOL enough!
Post by: gurang on Jun 19, 2003 at 05:36 PM
Tomas was even nominated for an Emmy for her performance as Mrs. Marcos in that HBO mini-series. She was there at the awards ceremony but didn't win. Well being recognized was COOL enough!
A Dangerous Life was required watching for school for some reason. Watched it with my family, and I still remember my folks having a good laugh over the way Ruben Rustia pronounced, Marcos-style, the word "frawd".
I also remember that the film was not shot in the Philippines, but either in India or Sri Lanka. The Manila horizon was dotted with mountains.
Was just looking over the cast list at IMDB. I remember who played the principals, but it also is fascinating to see who played the more minor characters. Tony Carreon played Mitra (very predictable), Rolando Tinio played Cardinal Sin ( :o), Rez Cortez played Gringo (much foresight in that casting), and most astonishingly, Odette "Mama San" Khan played June Keithley.
It took about thirty years before we started making good and honest films about the Japanese occupation. I can't wait for a decade or two from now, when I hope that we will be making honest and undisguised films about the Marcoses, and why they came to be.
Post by: wedge on Jun 21, 2003 at 09:21 AM
Post by: keating on Jun 21, 2003 at 10:48 AM
Is A Dangerous Life available in DVD? The last time I saw it was in Indosiar. Naka-series siya, and I missed half of it.
It was not yet release on dvd, Bro wedge.
Even in vhs hindi ko yata nakita ito sa mga rental shops.
Post by: viper on Jun 21, 2003 at 12:10 PM
Post by: keating on Jun 21, 2003 at 12:18 PM
Got a VHS copy of "A Dangerous Life" from one of our friends here at PinoDVD. However, it was the 'compressed' version (less than 3 hours) so I would still buy if they will release a DVD of the complete series.
Bro viper was it the original one or re-copy from the television broadcast some years back?
Post by: viper on Jun 21, 2003 at 12:26 PM
Bro viper was it the original one or re-copy from the television broadcast some years back?
I think what I got was US released VHS but as I have said, it is just the 2+ hour version since everything was recorded in a single VHS tape. I remember before it took us 5 beta tapes to completely tape the series. I fact, I can recall scenes from the series that did not see on the tape as it was heavily edited down to 2+ hours.
Post by: RMN on Jun 26, 2003 at 09:52 AM
Post by: JaysonLi on Jul 08, 2003 at 08:45 AM
And to make you guys happy, here are the stats:
NYMPHA (2003)
Total nationwide gross: P32,802,922
Production budget: P8,600,000
Prints/Marketing: P1,300,000
Negative cost: P 9,900,000
Now let's do the math based on my formula:
P32.8 M divided by 2 is P16.4 M.
Then P16.4 M minus negative cost P9.9 M is equals to P6.5 M in NET PROFIT.
Now let's do the formula based on what Noel_Vera mentioned, wherein 1/3 of the gross goes to the producer:
P32.8 M divided by 3 is P10.93 M
Then P10.93 M minus neg cost of P9.9 M is equals to P1.03 M net profit.
I want to clarify that although I get box office figures from our movie studios, these people did not tell me how exactly do they calculate their figures and profit/loss. The formula I use is what I learned abroad many years ago.
Thanks for sending email and questions.
Jayson Li
The Philippine Box Office Analyst!
[email protected]
Post by: commentary on Jul 08, 2003 at 11:43 AM
do you have Gamitans business?
Post by: Noel_Vera on Jul 08, 2003 at 12:17 PM
The net proceeds should be one third, maybe just a little more.
That figure I'm guessing isn't complete yet. Does it include cable and video sales? If not, add maybe one or two million to the figure.
Post by: JaysonLi on Jul 09, 2003 at 08:53 AM
That figure I'm guessing isn't complete yet. Does it include cable and video sales? If not, add maybe one or two million to the figure.
Hey Noel,
Nope, the figures I always put in do not include any cable or video sales. They are all and purely theatrical numbers.
Theatrical statistics is what I am after.
If only all the studios here could be very open, then it would be possible to get all annual ticket sales and all annual admissions so that the average price of movie tickets (as well as overall industry sales) all over the Philippines can be determined.
They've done that in HK, in America, Canada, Europe to name a few and we Filipinos cannot even do that here.
Post by: Noel_Vera on Jul 09, 2003 at 10:45 AM
Like I said, good luck--what you're doing IS valuable, I agree, but they probably don't. And I'd take whatever figures they give you with a grain of salt...
Post by: RitchieNolasco on Jul 09, 2003 at 09:30 PM
Ikaw Noel, could you share with us your views and opinion on this movie and what can you say about Maricar de Mesa?
I read about Nympha in the tabloids and one of the scenes daw has Maricar making love to a tree daw.
Feeling interested ako rito.
Post by: RitchieNolasco on Jul 09, 2003 at 10:14 PM
Stupidly enough however is the current title given to the project, which is "Mother's Angels" (err, Mother Lily's Angels???).
This sort of news is pathetic to hear and it involves 2 big name actresses (Aubrey is simply overhyped and overrated) pa.
Because Viva was able to make local imitations of certain Hollywood hits, make big money and even exceeded the quality of the foreign counterparts (Kailangan Ko'y Ikaw is MUCH BETTER than Notting Hill itself), Regal unsurprisingly jumped into the gaya-gaya bandwagon.
And this is what Monteverde said many months back: "Regal will make only original-concept Tagalog stories for the big screen."
I suppose she excluded Sanib, which is very obviously a poor copycat of The Exorcist.
Looks like Regal is running desperate. Xerex bombed and fell down the cellar in the box-office and Sanib failed to make Monteverde's "Sure to be number 1 grosser in Manila Film fest" prediction come true.
Now Regal will be doing a copycat of Charlie's Angels! Pathetic idea!
Post by: Noel_Vera on Jul 10, 2003 at 01:36 AM
Post by: JaysonLi on Jul 25, 2003 at 03:09 PM
Budgeted for P18,000,000 and marketed for P1,700,000, MU has grossed P26,492,368 (July 16-23). It's opening gross was P3.9 million.
Jayson Li
The Philippine Box-Office Analyst!
[email protected]
Post by: Noel_Vera on Jul 26, 2003 at 12:48 PM
Doesn't sound good. If it goes second week, and it's possible, they might net a few more millions, maybe ten if they're lucky. That'll get them, oh, anywhere from a million to three million net.
Countryside boxoffice is estimated to be half of Metro Manila. That's around four to six million net.
Still in the red. Unless they're exaggerating about the budget, which is possible (is that 18 million an inside estimate, or from a press release?). In which case the budget could be around nine million to ten. In which case they made money.
Who directed it?
Post by: RMN on Jul 26, 2003 at 11:22 PM
Post by: Noel_Vera on Jul 27, 2003 at 03:49 AM
Both gay--not that it matters. The to my opinion best action filmmaker in the Philippines is gay...
Post by: gurang on Aug 31, 2003 at 01:05 PM
Post by: indie boi on Aug 31, 2003 at 02:02 PM
Post by: keating on Aug 31, 2003 at 06:25 PM
The most that I can remember is the VAMPIRE EPISODE where a car hit off the vampire and the glass was broken. Very surreal episode in that trilogy.
Anyone here who can still recall the title but I definitely agree that it can never found anymore in vhs.
Post by: X44 on Aug 31, 2003 at 06:28 PM
But I agree, the Dracula episode, set in a hospital, if I recall it right, was creepy.
Post by: keating on Aug 31, 2003 at 06:41 PM
Those two Ariel Ureta's flicks were both trilogy if I'm not mistaken.
And there's hope X44 for those Pinoy flicks that we've been missing all these years...www.wwv.com!
Post by: indie boi on Aug 31, 2003 at 08:12 PM
Thanks for the title, Bro X44. :)
Those two Ariel Ureta's flicks were both trilogy if I'm not mistaken.
And there's hope X44 for those Pinoy flicks that we've been missing all these years...www.wwv.com!
Dude, are you sure about the website? It's the homepage of Worldwide Vacations.
Post by: Noel_Vera on Sep 01, 2003 at 03:18 AM
Post by: X44 on Sep 01, 2003 at 10:17 AM
Post by: Noel_Vera on Sep 01, 2003 at 10:53 AM
Now if Jennifer Lopez would do Little Annie Fanny...
Post by: X44 on Sep 01, 2003 at 10:58 AM
Post by: keng001 on Sep 01, 2003 at 02:00 PM
And there's hope X44 for those Pinoy flicks that we've been missing all these years
The Manunuri ng Pelikulang Pilipino has a website with a Filmography section. Right now, they only posted the year 1980. The list includes the title of the film and a brief description and the date it opened. If they add all the other years and maintain it, this could be the pinoy version of the imdb.com. Here's the url:
http://www.manunuri.com/
Post by: yamota on Sep 01, 2003 at 02:01 PM
Post by: X44 on Sep 01, 2003 at 02:37 PM
Post by: keating on Sep 01, 2003 at 07:10 PM
The Manunuri ng Pelikulang Pilipino has a website with a Filmography section. Right now, they only posted the year 1980. The list includes the title of the film and a brief description and the date it opened. If they add all the other years and maintain it, this could be the pinoy version of the imdb.com. Here's the url:
http://www.manunuri.com/
Thanks Bro kengoo1 for the url! :)
Post by: Noel_Vera on Sep 01, 2003 at 08:22 PM
Post by: gurang on Sep 01, 2003 at 11:45 PM
I remember back in the 70s or early 80s, Ariel Ureta hosted a live show called "For the Boys". It was like a variety show for adult males. Lots of sexy girls dancing and stuff like that. One memorable incident was when Vivian Velez's top slipped down while she was dancing and her boobs were exposed. That image of her with her boobs hanging out will forever be engrained in my memory.
That also happened to Manilyn Reynes in her own variety show in RPN. The backup dancers had the presence of mind to immediately form a circle around her while faking dance steps. But Vivian Velez anytime. Manilyn exposure has about as much appeal as if it had happened to a Little Miss Philippines contestant.
Post by: yamota on Sep 02, 2003 at 12:54 AM
Was that Vivian Velez or was that the flash-in-the-pan (and not-as-hot) bold star Ellen Esguerra ,who later attended an awards show in a see-through dress and practically no undies?was it Ellen Esguerra? I always thought it was Vivian Velez. Whoever it was, those were nice boobs :)
Post by: X44 on Sep 02, 2003 at 09:22 AM
Post by: RitchieNolasco on Sep 02, 2003 at 10:52 PM
Post by: RitchieNolasco on Sep 05, 2003 at 07:38 AM
Joel Lamangan directed the movie and this one interests me even more. I just hope that his directing would not result a Bahid disappointment.
Bugbog Sarado is beeping on my radar louder and louder as time passes. :)
Post by: RMN on Sep 07, 2003 at 11:19 AM
Ang Hiwaga and Prinsipe at Sirena. Handog ng Legacy Films. The tagline went like this:Tuklasin ang kangyarihan sa daigdig ng kababalaghan
It had no mention of the stars nor the director, just photos of the characters ( couldn't make out the faces of the actors). At the bottom corner of the poster, it ahd the DTS logo!!! :o
Post by: keating on Sep 07, 2003 at 06:15 PM
Saw this poster at the Megamall Cinema's:
Ang Hiwaga and Prinsipe at Sirena. Handog ng Legacy Films. The tagline went like this:Tuklasin ang kangyarihan sa daigdig ng kababalaghan
It had no mention of the stars nor the director, just photos of the characters ( couldn't make out the faces of the actors). At the bottom corner of the poster, it ahd the DTS logo!!! :o
Is this the first Filipino film in DTS? ???
Post by: cbs on Sep 07, 2003 at 06:33 PM
Post by: Lex Luthor on Sep 08, 2003 at 10:03 AM
Saw this poster at the Megamall Cinema's:doesn't look like a Pinoy film to me. looks like Thai or some other Southeast Asian production.
Ang Hiwaga and Prinsipe at Sirena. Handog ng Legacy Films. The tagline went like this:Tuklasin ang kangyarihan sa daigdig ng kababalaghan
It had no mention of the stars nor the director, just photos of the characters ( couldn't make out the faces of the actors). At the bottom corner of the poster, it ahd the DTS logo!!! :o
Post by: RitchieNolasco on Sep 09, 2003 at 08:35 PM
I heard that Maui Taylor accepted the project with the condition that she have no kissing scene with Jordan Hererra. A strange stipulation for a bold flick. Makes one wonder what really happened and how bad it really is between these two. :-\
Whether that is false or true, I'm amazed that Maui got to work with the super bastos Jordan Herrera (friends of mine witnessed his dark side in public).
But since this is about movies, I felt that the conflict between these two would further fuel their acting. Basically in acting, you try to love what hate and hate what you love.
Remember in Jaws when Hooper (Richard Dreyfuss) and Quint (Robert Shaw) had their tense and sarcastic moments together on the boat? The reality was that Hooper and Shaw had fights on the set until they were controlled to get shooting moving. The tension on screen was real.
As for Maui and Jordan, I'm really interested to see them work together on screen despite being enemies in reality.
Ha, I'm sure Aubrey Miles would just give up and run away had she been in Maui's place in regards to the conflict with Jordan.
Post by: RMN on Sep 21, 2003 at 12:17 AM
Post by: ßartmaniac on Sep 21, 2003 at 01:10 AM
This Joyce Jimenez starrer was shown on GMA 7 last night. I cant recall the title but it featured b-movie American actors but it was shot here...
(http://www.dvdplanet.com/productimages/front/18418.jpg)(http://www.dvdplanet.com/productimages/back/18418.jpg)
unless she's done another American B-movie.
Post by: yamota on Sep 21, 2003 at 06:16 AM
Post by: RMN on Sep 21, 2003 at 08:02 PM
Post by: RMN on Oct 01, 2003 at 11:24 AM
Are you too young to have watched the late Lino Brocka's very memorable film Maynila: Sa Mga Kuko ng Liwanag? It was shown in the seventies and it seems With Brocka gone, all the more likely it can never be shown on TV. As far as we know, he owns the film as he was one of its producers. His death was so sudden that he must have left no formal statement as to who should inherit his properties. The movie was actually based on a novel written in Filipino by Palanca awardee Edgardo M. Reyes. It was serialized in Liwayway magazine and eventually published into a book which is likely out of print now. However, some Philippine literature classes do take up excerpts from the novel. But then if youve never had the chance to read the book or see the film version, you can make do with the stage version. A group of veteran theater practitioners is staging the play on October 2, 3, and 5 at the Philippine Columbian at Plaza Dilao in Paco, Manila.
The play was written by Rene Villanueva. The lead character, Julio Madiaga, will be played by Brocka protegee Alan Paule, whom Brocka launched in the film Macho Dancer. Alan has since appeared not only in the movies and on TV but in many theater productions, including theater versions of Jose Rizal's Noli Me Tangere and El Filibusterismo. Upon Brocka's death, his career got to be charted by Ed Instrella, a close friend of the late director.
Movie thespians Klaudia Koronel, Ana Capri and Simoun Ibarra are also in the cast. PETA stalwart Jhoven Velasco directs.
The title, by the way, has been slightly altered. The play is called Sa Mga Kuko ng Liwanag. The story is that of a young man's travails in the city while searching for his girlfriend who was taken by a recruiter from their province with a promise of a decent job.
For tickets, you may call Highlights Studio at 783-7699.
Post by: RMN on Oct 01, 2003 at 01:38 PM
Who ever wrote the article does not watch Cinema One.
Post by: Noel_Vera on Oct 02, 2003 at 05:40 AM
"Are you too young to have watched the late Lino Brocka's very memorable film Maynila: Sa Mga Kuko ng Liwanag? It was shown in the seventies and it seems With Brocka gone, all the more likely it can never be shown on TV."
Who ever wrote the article does not watch Cinema One.
Doesn't read much, either. "Sa Mga Kuko ng Liwanag" is the book's original title. The movie altered it by adding "Maynila."
Post by: indie boi on Oct 02, 2003 at 08:45 AM
Post by: keating on Oct 03, 2003 at 06:33 PM
I saw it recently and AMY AUSTRIA'S breakdown scene should merit a standing ovation especially in Pinoy Films Greatest Movie MOments.
Post by: indie boi on Oct 03, 2003 at 09:04 PM
Viva -- who owns PBO -- is sitting on a goldmine. They should release these campy black and white movies on DVD.
Post by: T-850 on Oct 15, 2003 at 09:09 AM
Post by: RMN on Oct 18, 2003 at 10:03 PM
FUNFARE By Ricardo F. Lo
The Philippine Star 10/18/2003
First, a clarification: Crying Ladies, Unitel Pictures’ entry to this December’s Metro Filmfest, has nothing to do with Rebecca Quijano, dubbed as The Crying Lady who allegedly saw who really shot Ninoy Aquino on the same China Airlines plane she was in on that fateful day in August, l983.
"Crying Ladies," said Unitel producer Tony Gloria, "is about the ladies paid to cry during (usually Chinese) wakes. But according to my research, Crying Ladies are found in many other cultures."
Directed by Mark Meily from his own Palanca Award-winning script titled Bayad Luha, Crying Ladies stars Sharon Cuneta in an off-beat role as a hustler and gambler who loses custody of her son when she goes to jail and who makes a living by being a professional mourner, along with Hilda Koronel as a former B-movie starlet dreaming of a comeback and Angel Aquino as a mistress (of her friend’s husband) who considers being a professional mourner as an act of charity to atone for her sin.
"It’s a comedy which should warm the cockles of the heart," added Tony whose last project was the critically-acclaimed American Adobo (directed by Laurice Guillen). "The movie sheds light on the struggles and little dreams of ordinary people living in the back streets of Chinatown. It’s a story of hope and triumph, calculated to move audiences to laughter – and, every now and then, to tears."
Crying Ladies is Tony’s second movie for Unitel (after American Adobo). All in all, he has produced so many others, mostly with Viva Films, that he has lost count.
An advertising man, Tony started making movies in 1980 with Dear Heart (for Sining Silangan), starring Sharon Cuneta and her ex-husband Gabby Concepcion. It was Sharon’s first movie, a smash hit that made her an overnight superstar. Her succeeding movies were produced by Viva Films, with Tony often as executive producer.
As you can see, Tony’s friendship with Sharon has come a long, long way, no wonder he was able to convince Sharon to play the unglamorous hustler role in Crying Ladies, a landmark turnabout for her.
"I first met Sharon when she was 13, even before she started doing movies," recalled Tony. "I was then working for an advertising agency and I got Sharon to star in a commercial for Lem-O-Lime na pinagawa ng San Miguel which wanted to strengthen the softdrink’s market in the Visayas and Mindanao area. I heard Sharon singing Mr. Deejay on radio and I thought she was perfect for the commercial. She was recording for Vicor then. That’s where I met Vic (del Rosario, Jr., now Viva big boss) who was co-owner of Vicor at that time. Soon after, I met her father, the late Pasay City Mayor Pablo Cuneta, to ask his permission for Sharon to do the commercial."
The cinema commercial, showing Sharon in medium shot, was an instant hit. (Needless to say, sales of Lem-O-Lime soared especially in the Visayas and Mindanao.) Tony told Vic that "the girl" was a star material. A year later, Vic told Tony that "the girl" was about to do a movie (Dear Heart, directed by Danny Zialcita). Vic was tapped to do the movie’s promo. Would Tony like to join him?
"That’s how it all started," said Tony who would eventually produce dozens of movies for Viva, mostly starring Sharon.
When Dear Heart became a huge hit, Vic and Mayor Pablo upped Sharon’s asking price. Sining Silangan didn’t bite and did a movie with another star. Vic and Mayor Pablo decided to produce Sharon’s next movie (Viva Films’ first), P.S. I Love You (directed by Eddie Garcia). Tony would write some of Sharon’s dialogue for her movies and even the storyline (for Forgive and Forget, with William Martinez as leading man). It was even Tony’s group which coined the word "Megastar" as Sharon’s title.
Tony left Viva in 1987 and concentrated on his advertising company which he renamed Unitel (acronym for United Television). Outside of Viva, he produced a few movies (Si Aida o si Lorna o si Fe, etc.).
"Then and now," said Tony, "Sharon has always been easy to work with. Walang ere. No star complex at all. When I offered her the role in Crying Ladies, she didn’t have any second thought even if, I think, she had some apprehensions about playing that kind of role. But she said she was looking for something different. ‘I’ve been looking for something like this,’ she told me."
When Tony read Mark Meily’s script two years ago, he fell in love with it right away. It was "un-put-downable." The role of the B-movie starlet was first offered to Nida Blanca who never got around to doing it. "When she (was killed)," according to Tony, "the role had to be rewritten to fit Hilda. But I only had Sharon in mind for the role of the hustler-gambler. I told Sharon, ‘Remember what you used to tell me when we were doing commercials? Tito, if you need help, just call me.’ Im calling you now, I reminded her. She said yes at once."
Like Sharon (who has in her collection several Chinese movies which she showed to Tony prior to the shooting of Crying Ladies), Tony is a movie addict who, as a kid, did errands for the takilyera in exchange for free entrance into the moviehouse.
"I like all kinds of movies, from horror to adventure – you know, Spartacus and The Ten Commandments. One local movie that really impressed me when I was a kid was Mga Yapak na Walang Bakas (a Premiere film)."
But his all-time favorite local movie is Lino Brocka’s Maynila sa Mga Kuko ng Liwanag. "To me, it’s up there. Every other movie is a poor second."
Among foreign films, he picked two, To Kill a Mockingbird and Citizen Kane. And, of course, being a fan of the Master of Suspense, all Hitchcock films, especially Vertigo.
"It’s amazing how Citizen Kane was done, considering the limited technology at that time."
Finally, an off-beat role for Sharon
Post by: RitchieNolasco on Oct 21, 2003 at 09:30 PM
And I must say that Joel L scored a hit with this one. His use of suspense is intense!
Post by: Noel_Vera on Oct 21, 2003 at 10:29 PM
Post by: keating on Oct 23, 2003 at 07:57 PM
Ms. Abaya's first and only bold film made in 1985 but was only released during the people Power Revolution back in 1986....a flop during its time.
It cannot be in the league of BRUTAL, MORAL & KARNAL all written by Ricky Lee but it has its great moments particularly the hallucinatory scenes of flashback by its female lead...Barbara Benitez.
A coming of age film by a young lass who is having a lesbian affair with her best friend but come to terms with her own sexuality after making love to a hunk next door and her relationship with her mother played by Chanda Romero, grandmother...Charito Solis.
Chanda Romero & the late Charito Solis manage to squeeze some life from their roles in this flick...how ironic was that it was written by Jose Javier Reyes the man behind LIVE SHOW whom Ms. Abaya had a falling out about her press release a few years back titled...
SEX EVERY TEN MINUTES....
Post by: indie boi on Oct 23, 2003 at 08:37 PM
I just feel that Sensual never really had a point, even up to its bleh ending.
Post by: keating on Oct 23, 2003 at 08:44 PM
Ms. Solis never fails me....but I think the hallucinatory scenes are quite effective...bro indie boi...creepy and quite sexy ...
Post by: Noel_Vera on Oct 24, 2003 at 08:36 AM
Post by: Noel_Vera on Oct 24, 2003 at 08:38 AM
Post by: X44 on Oct 24, 2003 at 11:20 AM
While channel surfing this afternoon I chanced upon Pinoy Box Office's screening of Emmanuel Borlaza's campy 60's vampire movie "Dugo ng Vampira". It was silly, it was hilarious (especially the flying effects in which Charlie Davao, Gina Pareno and Bella Flores merely raising their arms with the camera leaning slightly to the right), it was kitschy (the fake bats that fly sideways and the weird looking puppet dog), and it was fun.
Viva -- who owns PBO -- is sitting on a goldmine. They should release these campy black and white movies on DVD.
Dugo Ng Vampira is actually available - - -on Region 1 DVD , I think. It's one of a small handful of Filipino films available in the States which include For Your Height Only and Sibak.
Post by: RitchieNolasco on Oct 24, 2003 at 01:01 PM
Anyone here saw the movie and reviews?
Post by: Noel_Vera on Oct 24, 2003 at 01:37 PM
Post by: keating on Oct 25, 2003 at 09:39 AM
Sensual had a look...Abaya poured a lot of visual intelligence into this film. But I found it airless and enervating; you get this feeling that Abaya doesn't really enjoy sex or sensuality, and she probably did this film to join the softcore porn bandwagon. It doesn't have the explosive energy of the greats: Boatman, Scorpio Nights, even Laurice Guillen's no-nudity erotic masterpiece Init sa Magdamag.
VIsual intelligence like Peque Gallaga...Noel?
I think Marilou Diaz Abaya was already tired in this kind of films when she did SENSUAL.
She already explored the female sexuality as object of desires in her earlier films...BRUTAL, MORAL, KARNAL, BABY TSINA.
And she admitted on interviews that she was on Edsa along with Ms. Solis when Sensual was being shown in the theatres.
Maybe she was not keen in this movie that's why it sank into oblivion.
Post by: indie boi on Oct 25, 2003 at 09:41 AM
Post by: keating on Oct 25, 2003 at 09:48 AM
I wonder did they patch up already her gap with Joey Reyes, after she bolted out of DIRECTOR'S GUILD OF THE PHILIPPINES?
Post by: indie boi on Oct 25, 2003 at 10:06 AM
Post by: keating on Oct 25, 2003 at 10:11 AM
But then...
Ishmael Bernal had a great influence on her life and she also had contributed great films with regards to the 2nd Golden Age of Phil. Cinema. :)
Post by: RitchieNolasco on Oct 26, 2003 at 08:17 AM
That should be "Init" (1979), with Rio Locsin as Charito Solis' hot hot hot daughter. Philip services both mother and daughter. It had trouble with the censors.
I never saw that movie and cannot even find it on any form of video. What exactly was the cause of its trouble with the censors? Was it because of sex or was it because Philip served both mom and girl?
Any particular hot scene worth mentioning?
Post by: Noel_Vera on Oct 26, 2003 at 01:33 PM
Some sex scenes had cuts. I don't know what was cut out.
Post by: paeng on Oct 27, 2003 at 03:49 PM
Also, how about Alma Moreno's first film, where she plays a country girl who becomes a bomba star? Does anyone have a copy of that?
Post by: Noel_Vera on Oct 28, 2003 at 06:14 AM
Joey Gosengfiao's Bomba Star starring Alma shows on Cinema One.
Post by: paeng on Oct 29, 2003 at 01:07 AM
http://www.geocities.com/Hollywood/Interview/8544/fildata.html
It might be "Ito Ba Ang Ating Mga Anak?"
Post by: yamota on Oct 29, 2003 at 04:11 AM
What's the one again with Cherie Gil who plays the daughter of a rich family? There's a pool scene at the end. Does anyone have an original copy on tape?I think that was called "Problem Child". I remember because I saw that in the theater when I was in high school. I will never forget the sight of Cherie Gil in a brown bikini coming out of the pool
Post by: paeng on Oct 29, 2003 at 09:16 PM
I think that was called "Problem Child". I remember because I saw that in the theater when I was in high school. I will never forget the sight of Cherie Gil in a brown bikini coming out of the pool
Post by: Noel_Vera on Oct 30, 2003 at 06:00 AM
Post by: indie boi on Oct 30, 2003 at 09:05 AM
Post by: Noel_Vera on Oct 30, 2003 at 01:47 PM
Post by: RMN on Oct 30, 2003 at 09:52 PM
Post by: indie boi on Oct 30, 2003 at 10:50 PM
Bed Sins starred Sarsi Emmanuelle and Liza Lorena, among others, directed by Mario O'Hara. The porn was inserted without O'Hara's consent by Robbie Tan. O'Hara pretty much disowns the film.
Out of lurid curiousity, who was in that oral sex scene?
This reminds me of Roño's Private Show and the infamous "banderitas" scene.
Post by: yamota on Oct 30, 2003 at 10:55 PM
Bed Sins starred Sarsi Emmanuelle and Liza Lorena, among others, directed by Mario O'Hara. The porn was inserted without O'Hara's consent by Robbie Tan. O'Hara pretty much disowns the film.Who was doing the oral sex?? Liza Lorena? or sarsi???
Post by: Noel_Vera on Oct 31, 2003 at 04:23 AM
Actually, it's body doubles, but the inserts are cleverly done.
Post by: indie boi on Nov 03, 2003 at 08:43 AM
Would anyone here know the title of the movie, it's director and the scriptwriter?
Post by: pinoymovies on Nov 03, 2003 at 02:24 PM
Post by: keating on Nov 03, 2003 at 04:24 PM
with the late Jay Ilagan, Rio LOcsin and dont know the name of one of Jay's friends who was a female, the other buddies are played by Bing Davao & Dick Israel.
The life and miseries of being single was deeply felt in the movie...
Does Abs-Cbn owns now the movies produced by the defunct EXPERIMENTAL CINEMA OF THE PHILS. which includes...ORO PLATA MATA, HIMALA, MISTERYO SA TUWA & SOLTERO?
Post by: Noel_Vera on Nov 04, 2003 at 06:39 AM
The first twenty minutes are the film's high point. Deramas uses the standard tropes of Filipino comedy: speeded-up slapstick, absurdist imagery, semaphoring silent acting; what distinguishes her use of these devices from the usual Filipino comedy director's is that it's all in the service of creating a genuinely complex and fairly original comic character: the mother as hapless creature of fate, doing her best to keep her sizable chin above the water as she marries one husband after another, is widowed in a number of rather ingenious ways (one drops dead from a heart attack; another falls from the balcony of a movie theater during a stampede; yet another is electrocuted at their wedding reception), each leaving her with a number of children. Along the way Deramas (using a script from Mel Mendoza del Rosario--one of the better comedy writers working in the industry today--and Keiko Aquino) scores a few satiric points: the tendency of Filipinos to produce unbelievably large families (Ai-Ai eventually ends up with an even dozen kids), the mad scramble for decent jobs in an increasingly indecent economy; the value put on displayable material wealth and "face," or surface respectability. Some of the better jokes include Ai-Ai naming her children after numbers (Juan (Marvin Agustin), after "one;" Portia (Heart Evangelista) shortened from "por" or "four"); Dennis Padilla as her latest suitor, a taxi driver with an appealingly maniacal twinkle in his eye and a penchant for showing up in his knight-errand taxi at the right place and the right time; and, of course, the film's title, which literally means "true Mother," the same time it's a pun on an obscenity that means: "whore mother."
The film doesn't sustain the comic momentum: about two-thirds of the way the picture seriously sags from all the tearjerking drama, meant to underline Ai-Ai's plight and suffering (they could have underlined it and still made it funny). Some of the satire isn't as pointed as it could be--Heart Evengelista could have really gone to town on her materialistic Portia, who expects her mother to fork out enough cash for her swanky debut birthday party, but other than some deft slapstick she does little else; no connection is made between Ai-Ai's troubles and the Catholic Church's medieval policies on birth control; and an incident involving a terrorist bomber seems to come out of left field if one isn't familiar with the turmoil that embroiled Manila at the time the film was made (some political context would have been welcome). Still, this is a film with serious targets that it manages to skillfully skewer at least half the time (most Filipino satires nowadays seem too broad, or miss their targets entirely); and in terms of general quality it stands head and shoulders above the standard-issue "toilet humor" or "tits-and-ass" slapstick.
Celso Ad. Castillo's "Asedillo" is perhaps the quintessential Fernando Poe Jr. (FPJ) film; it was the picture that established FPJ's image as expert gunslinger and defender of the poor. The film tells the story of Teodoro Asedillo, a schoolteacher turned rebel hunted by the Police Constabulary in the Sierra Madre mountains in the 1920s, at the time of the American Occupation.
By this time Celso had been directing for some five years (his first film was "Misyong Mapanganib" (Dangerous Mission) in 1966), and his best works were yet to come ("Burlesk Queen" (1977); "Pagputi ng Uwak, Pagitim ng Tagak" (When the Crow Turns White, When the Heron Turns Black, 1978)) yet even this early on you could see his mastery of film language. FPJ's actioners are almost always well-produced, but this is the rare picture of his that shows touches of genuine visual poetry--deep orange sunsets; elderly villagers expressively lit and photographed; iconic shots of FPJ on his horse climbing the steep terrain, his body leaning to one side as if to keep from falling off the mountainside. At one point FPJ reads a crucial letter from the Constabulary chief, offering parley: Ad. Castillo cuts to the people outside, waiting for the results of the fateful letter, and as they chat, Castillo cuts out all sound except the wind blowing; the effect is remarkably ominous.
FPJ had been acting since 1950 (his is perhaps one of the longest careers of any Asian actor, and he's still going on strong), and in many if not all of his films the acting has been consistent: the people speak a kind of declamatory rhetoric, with long pauses between sentences, a florid vocabulary, and solemn pacing. Ad. Castillo (who also wrote the screenplay) emulates this '50s performance style, but the fluid editing and camerawork (Sergio Lobo was DP) undercuts the heaviness, giving the film tension and energy. What's more, because editing and camerawork also emphasize the larger-than-life qualities of the characters, the declamatory dialogue becomes less a liability--a time-warped holdover from the '50s--than part of the film's overall style, indicating the gravity and seriousness of the characters' purpose.
Post by: milkeemee2 on Nov 07, 2003 at 12:37 PM
I chanced upon this movie in PBO. It starred Charo Santos, Janet Bordon, Lorna Tolentino and this other actress. They played four sisters, and the ending of the movie was they all got married at the same time. Their parents were played by Mario Montenegro and Gloria Sevilla.
Would anyone here know the title of the movie, it's director and the scriptwriter?
Title is Apat na Maria, Director- Maryo J., scriptwriter-Tom Adrales
Post by: milkeemee2 on Nov 07, 2003 at 12:43 PM
Post by: Noel_Vera on Nov 08, 2003 at 06:46 AM
Not as good as Bagong Hari, tho, as the Urian thought.
I liked La Vida Rosa better than Private Show; I like the screenplay and characterization better, and the former is less arty and more tightly written than the latter. Also, the former is by the much underrated Armando Lao.
Post by: acyl_halide on Nov 11, 2003 at 02:28 PM
A young whore at Manila’s breakwater
11/11/2003 2:06:00 PM
The Journal Group
Newcomer Katherine Luna, 18, is multi-awarded director Mario O’Hara’s personal choice for the role of Paquita, a young whore at Manila’s breakwater, in his latest directorial job, "Babae sa Breakwater."
Direk Mario shared, "Di kami makakita ng tamang gaganap sa role niya for more than two years. Hanap kami nang hanap. Ilang beses kaming nagpa-audition. Until dumating si Katherine. She’s a raw beauty. Bagay siya sa role. She underwent workshop and that’s when we knew our search had ended.
"Sabi ko, finally, magagawa na rin ang `Breakwater’ nang hindi na kailangan pang kumuha ng isang datihang artistang pipilitin pang bumagay sa character ni Paquita. The bigger revelation came by the time na nagshu-shoot na kami. Katherine has the makings of a compelling screen performer."
Direk Mario developed "Breakwater" while walking along Roxas Boulevard in Manila in 1996. He offered the story to major film outfits (excluding Regal Films), but none of them bit the project. He also tried fielding the story to the Palanca, but it was rejected just the same.
Until direk Mario met businesswoman Arlene Aguas, who generously agreed to produce the P15-M vehicle under the Entertainment Warehouse, Inc. banner.
"It took seven years," direk Mario noted, "but it’s well worth the wait.
Also in the cast of "Babae sa Breakwater" are Amy Austria, Gardo Versoza, Daniel Fernando, Dick Israel, Rez Cortez, Odette Khan, and Lou Veloso, among others. It opens soon in Metro Manila theaters.
By IAN FARIÑAS
Post by: Noel_Vera on Nov 11, 2003 at 11:18 PM
Post by: edsa77 on Nov 14, 2003 at 07:16 PM
MAGNIFICO
3 1/2 stars
Starring Jiro Manio, Albert Martinez. Written by Michiko Yamamoto. Directed by Maryo J De Los Reys. (STC) 122 min. Opens Nov 14.
Some movies wear their heart on their sleeve: the Filipino drama Magnifico puts it in the audience's hands. How, it asks, can you resist the story of a saintly martyr-child whose energetic and selfless do-gooding brings redemption to weary souls of his impoverished village? And whose tireless efforts in this vein are rewarded not with a well-deserved happy ending, but rather a cruel twist of the heartless fates? Well, you can't, which is why in Magnifico, the crudity of its emotional assault works shamelessly as a melodrama.
Times are tough for Magnifico (the decidedly adorable Jiro Manio) and his family. His parents are grappling with debt; his sister, Helen, has cerebral palsy and cannot speak; his brother, Miong, has flunked out of university. But it's not until his beloved grandmother falls off the roof and is subsequently diagnosed with cancer that Magnifico decides to take action. Noting that money -- or a lack thereof -- is at the root of these problems, he throws himself into a series of entrepreneurial ventures. "Just because they're adults," he explains to a friend, "doesn't mean we can't help them."
From collecting scrap wood to fashioning a homemade coffin for his rapidly failing grandma to carting his sister to the local carnival on his frail back, Magnifico is a one-kid crusade for all that's good in the world. In an American film, such explicitly pandering incidents -- and their accompanying swells of bathetic violin music -- would be easy and justified critical targets. That I bought into this transparent exercise in tear-jerking (the rough Hollywood equivalent would probably be the execrable Pay it Forward) has as much to do with my own curious tolerance for subtitled excess as it does its own virtues of performance, scripting and direction. ADAM NAYMAN : Eye Weekly Toronto
Post by: Noel_Vera on Nov 15, 2003 at 06:40 AM
Post by: Noel_Vera on Nov 21, 2003 at 11:27 AM
1. So what was the Filipino film industry like this year?
2. What were the worse Filipino films this year? WHY?
3. What were the best Filipino films this year, WHY?
4. Anything else you'd like to add, about the industry this year?
RitchieNolasco, RMN, edsa77, yeah, I'm talking to YOU--now's your chance to tell me what went down, how it went, and why.
Thanks, y'all.
Post by: RMN on Nov 21, 2003 at 11:56 PM
Thanks ;)
And, btw, please pardon the errors in my e-mail.
Post by: Noel_Vera on Nov 22, 2003 at 06:06 AM
Any other responses out there?
Post by: RMN on Nov 22, 2003 at 03:49 PM
Post by: Noel_Vera on Nov 22, 2003 at 03:57 PM
Post by: RMN on Nov 23, 2003 at 12:37 AM
for helping 'kill' industry
Posted: 10:39 PM (Manila Time) | Nov. 22, 2003
By Nini Valera
Inquirer News Service
DIRECTOR Carlo J. Caparas is accusing film critics as among the suspects in the slump in the local movie industry.
Caparas, whose latest movie, "Chavit," is based on the life of deposed President Joseph Estrada's nemesis, former Ilocos Sur Governor Luis "Chavit" Singson, told Inquirer Entertainment last Thursday that critics have stunted the growth of the industry because of their scathing criticisms of local movies.
"Sa sobrang pintas nila, turned off na ang mga tao sa pelikula. Ayaw nang pumasok sa sinehan (Because of their biting criticism, people are turned off and no longer want to watch the movie)," said Caparas. "The project is already mutilated after their reviews. Sana, constructive criticism, huwag assassination of the project. (I hope constructive criticism, not assassination of the project)"
He pointed out that some critics were not even qualified to review movies.
"Let's face it, the audience watches a movie only to be entertained," Caparas said in Filipino. "They are not film critics. If they read a bad review, they would be discouraged from watching the movie, especially those from the AB crowd."
He is also appealing to the critics to come out with their reviews only after a movie has finished its run in theaters, or several days after a movie has opened. This way, the movie will have a chance at the tills, he said.
In these days when major producers spend only six million pesos to produce a movie, the Singson bio-pic cost 80 million pesos. Expenses have continued to pile up even after post-production, as the movie reaches its last leg of promotion before it opens in Metro Manila next Wednesday, according to Caparas.
The movie was produced by Golden Lion Films and by Starmax International and Velcor Films. Golden Lion is owned by Caparas' wife, former movie star Donna Villa.
"I would like this movie to be a wake-up call for the other producers," said Caparas in Filipino. "I am giving them a reason (not to give up hope). They say the industry is clinically dead, and local movies are no longer making money because of piracy. But I don't believe in that. If we do something expensive but worthwhile, the project will be profitable because people will go for it.
"Even if I fail with this project, I would still be happy as a filmmaker because I attempted to dream big."
With "Chavit," the movie, Caparas hopes to create what he called a jackrabbit effect so that "producers who are content in making small-budget movies" would not spare expenses when they think of their next projects.
"They have also caused the death of the film industry here when they started to make small pictures," Caparas said, referring to the producers.
Caparas also noted that when movie industry people are appointed members of the Movie and Television Review and Classification Board, they are even stricter with their censorship policies than government people.
"Instead of enlightening the non-show biz people, they are the ones who even make it more difficult for a controversial film (to survive the censors' scissors)," he said.
"I know I will have new enemies because of my statements, but I will not be the man you knew before if I were not bold in my stand," he said. "I have already reached a stage where I can still survive (in the industry) while new directors only cower in fear."
But Caparas said he was "no crusader."
"I just want to express my sentiments," he stressed.
Award-laden actor Cesar Montano plays Singson in the Caparas movie. Montano is a veteran of three other Caparas movies: "Antipolo Massacre," "Annabelle Huggins Story," and "Lilian Velez Story."
"He (Cesar) is the most bankable actor today," said Caparas. "He's also a very good actor."
Like Caparas' previous movies based on sensational crime cases, "Chavit" will drip with blood, as the trailer shows.
"Gov (Singson) led a very dangerous life," Caparas said. "He is a remarkable man in that he has survived so many attempts on his life, and we showed all this in the film."
;D
Post by: Noel_Vera on Nov 23, 2003 at 02:20 PM
Post by: acyl_halide on Nov 25, 2003 at 05:51 PM
Hey, guys, am trying to do an article on the state of the industry 2003, and I need help. I'm seeing some of the films shown this year--Tanging Ina, Magnifico, am going to see Huling Birhen soon, but obviously I can't see everything (HEY QUARK, HOW BOUT THAT COPY OF KEKA YOU PROMISED?!), so I'm asking all of youse:
2. What were the worse Filipino films this year? WHY?
i'll start with the worse films of the year since I can still remember the terrible trailer of this Robin Padilla - Kris Aquino starrer You and Me Against the World. Of course I did not watch it. Even Kris Aquino walked out on the premier of the movie because di nya ma-take how bad the movie was (duh!). She refused to promote it kasi hindi daw nya movie yun but Robin's. Imagine Kris Aquino walking out on her own movie. It could have been really that bad.
Post by: Noel_Vera on Nov 25, 2003 at 08:55 PM
Post by: acyl_halide on Nov 27, 2003 at 06:23 PM
Thanks, acyl. But didn't you catch anything you liked?
Well, I thought it was generally a bad year in terms of the quality of films but I think a lot of movies made money. Interesting to note is the wane of bold movies this year.
So far I liked:
MAGNIFICO (Maryo J. delos Reyes)
KUNG AKO NA LANG SANA (Jose Javier Reyes)
TILL THERE WAS YOU (Joyce Bernal)
TANGING INA (Wenn Deramas)
I thought NOON at NGAYON ("Moral2"), Huling Birhen sa Lupa and Bugbog Sarado by Joel Lamangan and both Elwood Perez Films (Lupe and Shhh Walks By Night) disappointing.
But I'm looking forward to watching the ff films:
Mr. Suave (Joyce Bernal)
Babae sa Breakwater (Mario O'Hara)
Crying LAdies (Mark Meily)
Bridal Shower (Jeffrey Jetturian)
Filipinas (Joel Lamangan)
and even Homecoming by Gil Portes which I heard was already bought by Sony Pictures Classics.
Will have to elaborate later....
Ooh speaking of Caparas, I hope his allegedly 80M Chavit movie will flop bigtime so big that he will forever be banished from movielandia and forever spare us from him.
Post by: edsa77 on Nov 28, 2003 at 05:08 AM
BAUNINAM!
Post by: Noel_Vera on Nov 28, 2003 at 09:29 AM
No, more like a crustacean.
Post by: Reuven Malter on Dec 05, 2003 at 05:42 AM
Post by: RMN on Dec 10, 2003 at 06:53 PM
Post by: Noel_Vera on Dec 11, 2003 at 08:05 AM
Post by: RMN on Dec 11, 2003 at 06:59 PM
Probably Ed Cabagnot. Why, have you heard anything new about them?
I heard somewhere that its going to be published soon...
Post by: Noel_Vera on Dec 11, 2003 at 10:19 PM
Post by: RMN on Dec 11, 2003 at 11:34 PM
Post by: Noel_Vera on Dec 12, 2003 at 08:04 AM
So to whom did his videotape of Dyesebel go to?
Post by: RMN on Dec 12, 2003 at 04:47 PM
Oh, they finally came around? After finally acknowledging they have a gay genius recluse in their family and that they have no earthly use for the prickeless stuff Hammi stored away in his room?
So to whom did his videotape of Dyesebel go to?
I would assume, DLSU as well since his tapes and LP's were included in the lot.
Post by: RMN on Dec 12, 2003 at 05:27 PM
Does anyone here know what happened during the fire that broke-out at Mike de Leon's home?(I hear a lot of memorabilia was lost) I need this for a school related research work I'm doing. Thanks :)
Post by: Noel_Vera on Dec 13, 2003 at 09:37 AM
Post by: tonedeaf on Dec 21, 2003 at 07:53 PM
Sorry if this has been posted before, but I just want to inform all those interested that the VCD of Temptation Island is now available. Got my copy at Astroplus-Podium ;D
Post by: oggsmoggs on Jan 29, 2004 at 09:49 AM
In other news, three Filipino films are in competition for the big prize in this year's Bangkok Int'l Film Festival...
1) The Last Virgin (Joel Lamangan) - haven't seen it
2) Homecoming (Gil Portes) - good lord, this movie should've stayed here in the Philippines... quarantine this movie like the SARS!
3) Magnifico (Mario J. delos Reyes) - I hope this takes home the prize...
Post by: Noel_Vera on Jan 29, 2004 at 11:53 AM
Post by: pinoymovies on Jan 30, 2004 at 12:27 PM
AN INTERVIEW on Monday night's "TV Patrol," filmmaker Nick Deocampo says he screamed when he found the treasure in a library in the United States. The treasure was a copy of the 1936 film, "Zamboanga," starring Fernando Poe, the father of presidential candidate FPJ. The copy had found its way from the Philippines to Finland and then to the United States.
I am certain there are more national treasures waiting to be discovered in the United States and Europe. Sadly, whether it's films or archaeological artifacts, we are unwilling to invest in proper archives and museum facilities to keep these treasures for future generations.
Read the rest of the article at this url:
http://www.inq7.net/opi/2004/jan/29/opi_mltan-1.htm
Post by: keating on Jan 30, 2004 at 01:55 PM
It was selling for only $50 bucks, I wonder who was the lucky one who bought it?
It was complete with its original artwork which showed the burning of the plantation fields.
Post by: RMN on Jan 30, 2004 at 02:43 PM
YAHOO By Stephanie Tanyu Coyiuto
The Philippine STAR 01/30/2004
It has repeatedly been said that Lily Yu-Monteverde, more popularly known as Mother Lily, is a one-of-a-kind movie producer and businesswoman. I have been able to witness this one-of-a-kindness of Mother Lily — whom I sensed was somehow more interested in talking to my 13-year-old, die-hard movie fan sister (who came along to the interview) than me. I was both amused and impressed by the sight of Mother Lily asking for my younger sister’s cellphone number, all the while exclaiming, "Marami ka pala alam sa mga hit na artista ngayon!" The fact that Mother Lily, one of the country’s finest icons, would take time out to get to know the tastes of my sister who was at least four decades behind in experience and movie-wisdom, said everything about Mother Lily’s dynamism and passion for her work.
Mother Lily, a woman who has succeeded in defying the tradition of being a submissive housewife, is a rarity in the Chinese-Filipino community. She has for 40 years made her own mark in the entertainment industry, running Regal Films Inc.
During the holidays, Mother Lily divided her busy schedule between promoting her two Metro Manila Film Festival entries, Mano Po 2 and Gagamboy, her tiangges, and flying off to California to attend the wedding of her long-time friend’s daughter. Her main concern right now — besides her wonderful family, of course — is how to use her influence to convince the Filipino masses that the Philippines still is – and will always be – a beautiful country despite the numerous political and economic problems it faces. One of her deepest desires is to be able to produce a film portraying the travesties of Philippine society, hoping that viewers will be inspired to take drastic actions to change the deeply rooted, corrupt system that continues to threaten the well-being of Filipinos. Mother Lily shares more about herself – the parts people know about her, and the parts people still don’t:
How and when did you enter the movie business?
It has always been a dream of mine to enter show business. I started way back in 1961, first as a movie fan.
Would you recommend young people who want to enter the movie industry to follow the same path as yours?
Yes, whether you want to become a movie or TV producer, an artist, or part of the staff! There are so many categories in show business. Just choose one for which you have the passion. I feel very fulfilled with how my life turned out to be. I plan to put up a school in my studio for people who want to enter showbiz. As of now, only UP has a film school but it isn’t that established yet.
What was it like to grow up in a traditional Chinese family? How did your parents react to your entering the movie business?
My parents were very conservative but when I told them that I wanted to enter show business they allowed me to give it a try. Ganyan naman hanggang ngayon eh. Ang sagot nila pag sinabi mo na papasok ka sa showbiz ay, "no, no!" But I looked at it as a challenge. Being part of the movie industry is something to be proud of. But little by little parents are getting more open-minded. Some students from Xavier school were even brought by the parents to my seminar. They were all very eager to see how we worked. Time changes things.
Did you feel that you were different from your peers?
Ah, yes. I was different! (Laughing) Exceptional ako.
Why are you called Mother Lily?
It’s because I act as the mother to people around me — not in terms of giving money, but giving love, care…Lolit Solis first called me Mother Lily and it evolved so that now everyone calls me this. There was a Mother Teresa, I can be the Mother of Showbiz (laughing).
What do you enjoy doing in your spare time?
I’m into real estate. This is my hobby. I even put up a small hotel as my investment. I like bargaining with others. I also like looking at interior design magazines and building things.
What is your favorite book? Why?
It would be Thick Face, Black Heart by Chin-Ning Chu because after reading this you’ll know what life really is like.
Favorite movie?
Foreign? Gone with the Wind. Local? Many. My movies (laughing).
Philosophy in life?
That honesty is still the best policy. Acceptance of the things that are happening around is also important.
What are your personal standards in choosing good talent?
Personality counts a lot, as well as behavior and education. Even if training can improve a person, having a good educational background when one enters the business is very helpful nowadays. It’s hard to express oneself and talk well without a good education.
What inspires you to do something?
My family. Always, my family.
What difficulty has challenged you the most?
Now? The economy. The system of government. As far as I’m concerned, the entire system is killing the industry — killing us.
Is there anything lacking in your life?
None. I have a good family, good friends. I’m very happy, fulfilled, and at peace with myself.
What new things would you like to do this year?
I want to follow the young people. Technology changes so fast. I want to be able to catch up with this. At my age, I like to think that I’m still on-the-go.
What irritates you?
Mga taong makulit! People who are lazy and don’t follow orders.
What are the lessons of Mano Po 2 that you hope to share with the public?
You should only have one wife para walang gulo! Haha…do you agree?
So is there a third installment of Mano Po in the works?
I hope so. Good scriptwriters are hard to find. More people enter the TV business. Before I start on a movie, I think of how it will appeal to the people. Not all scripts can be used for movies. With Mano Po, I’d like to think that it has an appeal for people of all ages – from grandparents to their grandchildren. There was even a friend of mine who called me up after she watched Mano Po 2. She was complaining, "What did you do to this movie? Parang in-e-encourage mo ang three wives!" since there was a reconciliation in the end. Gusto nila mag-away na lang forever. But as I said acceptance, though difficult, is very important. This is the message I want to impart to the audience. The kids are the ones who will suffer if the wives do not get along with each other.
What lessons did your late father copra taipan Don Domingo Yuchu leave you with?
Live a simple life.
How did you break the mold of a traditional Chinese wife?
I got married at the age of 21. I’ve been working for the past 40 plus years. I have an independent mind. From the very start, my husband supported me. I owe my success to Remy Monteverde. (Laughing) I hope everyone knows this. Mabait talaga siya.
Do you consider yourself more Chinese or Filipino?
The way I feel, I think, is more Filipino. But I have the best of both worlds.
What is the best thing about being a movie producer?
The whole package. I love the entire process of thinking about a new movie. My job is always in my mind and heart.
What are the biggest problems of the Philippine movie industry?
Ang sakit ng gobyerno. It’s all the propaganda that happens within the movie industry. For example, the film fest awards night. It was a political setup, a political strategy. The system is unfair. Officials don’t think of the right way of helping the industry. Let’s say that you are for this administration — they will help you. If not, they will not support you.
How many children do you have?
I have five kids; most are also involved in show business.
Is it true that you are now planning a movie about the many troubles of contemporary Philippine society?
Yes. Bayan Ko, Mahal Ko. It’s about what makes our country weak. It’s about the corrupt society we live in. The government isn’t doing its job well and at the very root of all these problems, the families are affected. This really bothers me.
What is your advice to young people now that the country is in economic crisis and faces political uncertainties?
Just be yourself and study hard.
Why are you so good at predicting the tastes of the Filipino masses in movies?
It’s part intuition. I also observe and study the Filipino masses. This is why I like putting up tiangges — here I feel the pulse of the masses.
What are the secrets of your success?
I am doing what I love. I have a wonderful family who has supported me all the way.
What’s the Regal legacy you would like to leave behind?
Well, over the years I’ve kept on changing. I used to produce bolds then all of a sudden I said to myself, "My conscience is bothering me." So I stopped. I then decided that I wanted to produce good quality movies. I want to be remembered as a young-at-heart woman who was very involved in her work and was not afraid to change with the times.
Final comments?
The Philippines is a land in which I always feel that its people should remain in. I will continue my movie production and try to instill public awareness. Before I retire, I want to do a movie which can help change the government. I’ve done that, Sister Stella L for example, but it was done in a small scale because my director was scared. We were caught by the Marcos administration. Now I want to write about this again. We’re going downwards unless people realize what’s happening. I do not plan to attack the government. I plan to create a sentimental journey. A movie which you can feel in your hearts and leave the theater feeling that you belong to this country. I want to produce a movie in which people will cry and wake up remembering their love for family and country. There should be no regrets in staying here in the Philippines. I myself joined rallies some years ago. I feel that rallies are not enough – people easily forget what they fight for once the frenzy has died down.
Post by: edsa77 on Jan 30, 2004 at 06:15 PM
(http://img11.photobucket.com/albums/v33/essaludes1/BatangWestlores.jpg)
Post by: Noel_Vera on Jan 30, 2004 at 06:33 PM
Post by: pinoymovies on Jan 30, 2004 at 10:11 PM
The original vhs tape of Gallaga's...Oro plata mata was available before on some video stores in L.A.
It was selling for only $50 bucks, I wonder who was the lucky one who bought it?
It was complete with its original artwork showing the burning of the plantation fields.
Okay, this movies does not compare to a classic like Oro Plata Mata but just a few days ago, someone posted Darna and the Giants VHS copy up for bid on eBay starting bid of $3.99. When the bidding ended the movie was sold for a whopping price of $63.00. :o
Post by: keating on Jan 31, 2004 at 01:39 PM
Okay, this movies does not compare to a classic like Oro Plata Mata but just a few days ago, someone posted Darna and the Giants VHS copy up for bid on eBay starting bid of $3.99. When the bidding ended the movie was sold for a whopping price of $63.00. :o
It can also be qualify as a cult classic (Darna & the Giants) I was convinced after watching Crying Ladies. ;D
Seriously speaking, your post remind me on how can we go so pricey in acquiring classic Filipino movies, imagine going to overseas or buying on the net just to watch these clasic films.
Most of the movies shown on cable are already owned by Channel 2, Star Cinema, I hope they will release some of these on dvd or vhs including Gallaga's oro, plata, mata, one of my all-time favorites.
Post by: commentary on Jan 31, 2004 at 02:16 PM
Post by: Noel_Vera on Feb 01, 2004 at 09:31 AM
Post by: indie boi on Feb 01, 2004 at 02:55 PM
what a sad interviewer, in that mother lily article. some decently interesting topics come up, but no follow-up questions.It looked like the interviewer never really interviewed the subject but instead gave her a questionnaire -- which most writers do when they want to cut corners.
Post by: keating on Feb 01, 2004 at 07:12 PM
It looked like the interviewer never really interviewed the subject but instead gave her a questionnaire -- which most writers do when they want to cut corners.
It's like a Ricky Lee interview.
Post by: oggsmoggs on Feb 01, 2004 at 07:20 PM
Quote
It's like a Ricky Lee interview.
You must mean Ricky Lo...
Post by: keating on Feb 01, 2004 at 07:23 PM
You must mean Ricky Lo...
Thanks for the correction oggsmoggs, yeah Ricky Lo.
I always thought Ricky Lee was the Phil. Star writer.
Post by: indie boi on Feb 01, 2004 at 11:04 PM
Post by: Noel_Vera on Feb 02, 2004 at 02:14 AM
Post by: RMN on Feb 02, 2004 at 12:35 PM
Haha! ;D
Post by: keating on Feb 03, 2004 at 12:39 PM
Post by: RMN on Feb 03, 2004 at 01:02 PM
And did you know that Viva Films was also on the verge of bankruptcy? The reason? Titanic! really.
Post by: keating on Feb 03, 2004 at 05:41 PM
Yup, its true. The Starzan series did save Regal Films from bankruptcy.
And did you know that Viva Films was also on the verge of bankruptcy? The reason? Titanic! really.
Just because Viva locally release TITANIC? ???
Can you elaborate...RMN?
Post by: RMN on Feb 03, 2004 at 07:46 PM
Viva was the local distributor of Titanic which was a huge success, if you remember. As a result, Boss Vic had a lot of money on his hands that didn't really belong to him. But since the US producers of the film (was it Fox and Paramount? can't recall) hadn't yet asked for the money to be remmitted to them, he decided to use it bankroll his movie projects. When a lot of those films tanked at the tills, when the value of the dollar shot-up, he couldn't pay his foreign principals.
How Viva got out of that rut is a good question.
Post by: yamota on Feb 03, 2004 at 11:29 PM
Post by: Noel_Vera on Feb 04, 2004 at 09:52 AM
I'm not sure about above history 100%, tho.
Yeah, that's pretty funny...all that money they made off Titanic, and it became a huge albatross round their necks when the peso devalued! ;D
Post by: RMN on Feb 04, 2004 at 12:40 PM
Post by: llanesmark777 on Feb 07, 2004 at 04:25 AM
Post by: Noel_Vera on Feb 07, 2004 at 09:57 AM
That said, there has been some improvement on the MMFF entries. At least they are better the last few years than they have been for most of the '90s.
Post by: jdv1229 on Feb 07, 2004 at 06:35 PM
Post by: edsa77 on Feb 07, 2004 at 07:40 PM
Bridal Shower will be screened in Singapore this year, out of competition as relayed by Philip Cheah(die-hard Aubrey Miles fanatic).
Babae sa Breakwater, Bridal Shower and Duda will be entered in Locarno .
HK and Singapore want Breakwater but its distributor is saving the film for the European festivals. According to Jacob Wong (a die-hard O'hara fanatic), HK is willing to wait.
Jeffrey Jeturian is going to Munich for the German showing of Pila Balde.
Post by: edsa77 on Feb 07, 2004 at 07:44 PM
If any of you guys happen to be home this Friday, Studio 23 will be showing Bernal's Broken Marriage for their "Lunch Box Office". Not exactly sure of the time though.
di ko nasimulan. sayang...
Post by: keating on Feb 07, 2004 at 07:45 PM
Saw him during the director's cut screening of Tuhog in U.P. Film Center a few years back.
I still prefer his domestic drama SANA PAG-IBIG NA over PILA BALDE & TUHOG.
Post by: wedge on Feb 07, 2004 at 08:05 PM
Jeffrey Jeturian is really going places no doubt about this talented man.
Saw him during the director's cut screening of Tuhog in U.P. Film Center a few years back.
I still prefer his domestic drama SANA PAG-IBIG NA over PILA BALDE & TUHOG.
I think Pila Balde and Tuhog are the offshoot of Jeturian's dark side... :)
Post by: Noel_Vera on Feb 08, 2004 at 01:25 PM
"Bridal Shower will be screened in Singapore this year, out of competition as relayed by Philip Cheah(die-hard Aubrey Miles fanatic)."
Cool. Edsa, didn't you mention Jeffrey might send me a copy? Or is the VCD out?
"Babae sa Breakwater, Bridal Shower and Duda will be entered in Locarno ."
Cooler, but have they been accepted?
"HK and Singapore want Breakwater but its distributor is saving the film for the European festivals."
This is a problem. Either you have a powerful patron (like Pierre Rissent), or you have a track record (like Brocka after Rissent). Without either you aren't likely to enter the big ones like Cannes.
Well, the producers have a contact in Karlovy Vary, hope that helps at least there. And Karlovy is very prestigious.
"According to Jacob Wong (a die-hard O'hara fanatic)"
Guess who made him that way. ;D
Post by: edsa77 on Feb 08, 2004 at 10:40 PM
Post by: Noel_Vera on Feb 09, 2004 at 04:39 AM
Post by: RMN on Feb 10, 2004 at 04:38 PM
Post by: RMN on Feb 11, 2004 at 02:05 PM
Post by: commentary on Feb 11, 2004 at 11:11 PM
Christoph Huber is the main film critic for Die Presse (Vienna). He has published on cinema and pop music for various film magazines, newspapers and websites and writes the program notes for Vienna's Cinémathèque.
http://www.sensesofcinema.com/contents/04/30/favourites2.html#huber
Olaf Möller is a writer, translator and curator based in Cologne.
http://www.sensesofcinema.com/contents/04/30/favourites3.html#moller
and...
Acquarello, of the popular site Strictly Film School, included Ditsi Carolina's Riles[/i] ) (Life on the Tracks) as number 4 on his top 10 of 2003.
http://www.sensesofcinema.com/contents/04/30/favourites1.html#acquarello
Post by: dibidi on Feb 11, 2004 at 11:51 PM
why do filmakers have to wait for the MMFF to show good/quality movies? is it because more people will watch it?
is december the peak month to show filipino movies? like if its a summer movie in hollywood?
well i do hope for the future of filipino films.
how come we import korean movies not that they are not good films, why don't we export our movies there for a change?
Post by: indie boi on Feb 12, 2004 at 06:27 AM
Post by: dibidi on Feb 12, 2004 at 10:25 AM
Post by: T-850 on Feb 12, 2004 at 12:01 PM
well i agree in watching other countries offering of movies but for us filipinos to be watched in other countries thats what i want.
yep, imagine panday being showed in china! ;D
Post by: keating on Feb 12, 2004 at 12:28 PM
It seems theater distributors are not keen to this 5 hour movie.
Post by: wedge on Feb 12, 2004 at 05:16 PM
Will Batang Westside have a regular theater run?
It seems theater distributors are not keen to this 5 hour movie.
I believe it was shown a few years back at Cinemanila (m not so sure, though).
And from what I heard, someone's (dunno who) planning to release this on DVD, and Mike de Leon's producing the 2-disc set.
As I've said it's not certain...is there someone who can confirm this and kill the rumor? ???
Post by: keating on Feb 12, 2004 at 10:12 PM
I believe it was shown a few years back at Cinemanila (m not so sure, though).
And from what I heard, someone's (dunno who) planning to release this on DVD, and Mike de Leon's producing the 2-disc set.
As I've said it's not certain...is there someone who can confirm this and kill the rumor? ???
Thanks for the info...bro.
I'm waiting for the commercial release on theatres, any hope?
Post by: dibidi on Feb 12, 2004 at 11:54 PM
Post by: indie boi on Feb 13, 2004 at 07:46 AM
I hope to be proven wrong though.
Post by: edsa77 on Feb 13, 2004 at 09:23 PM
MAGNIFICO wins GRAND PRIX BERLIN KINDERFILMFEST
The International Jury of the Kinderfilmfest 2004 award the Deutsches Kinderhilswerk Grand Prix to the film "Magnifico".
The International Jury awards a total of Euro 10,000.
Award ceremonies will be held this Saturday, 14th of February at 4pm.
Post by: RMN on Feb 13, 2004 at 09:39 PM
Post by: keating on Feb 14, 2004 at 11:28 AM
Uunahan ko na si Ricky Lo....hehehhe!
MAGNIFICO wins GRAND PRIX BERLIN KINDERFILMFEST
The International Jury of the Kinderfilmfest 2004 award the Deutsches Kinderhilswerk Grand Prix to the film "Magnifico".
The International Jury awards a total of Euro 10,000.
Award ceremonies will be held this Saturday, 14th of February at 4pm.
That's good news for MAGNIFICO. :)
I hope it will help in the dvd & video sales of the movie. It was a flop, as it runs for only 3 days in Metro Manila theatres.
Reuven Malter...bro if you're reading this thanks for the recommendation last year.
Post by: pinoymovies on Feb 15, 2004 at 04:12 AM
Post by: Noel_Vera on Feb 15, 2004 at 04:49 AM
Thanks for the link, pinoy
Post by: Noel_Vera on Feb 15, 2004 at 05:46 AM
Post by: RMN on Feb 15, 2004 at 02:05 PM
Here's a link to an article about Sampaguita Picture's efforts in finding and preserving their old movies. Click here to read the article. (http://www.inq7.net/ent/2004/feb/15/ent_1-1.htm)
What an interesting article. Very frustrating too. I wonder how LVN's doing and if Mike de Leon's pushing through with his plan to put-up a restoration facility.
Post by: keating on Feb 15, 2004 at 06:32 PM
I doubt if Batang West Side will have a commercial release. First, movie distributors will not get it, second, it's a five-hour movie with no special effects, gratuitous violence or excessive sex -- at most you can only fit in three sceenings of the movie every day -- not a good financial proposition.
I hope to be proven wrong though.
Might be true...indie boi.
I'll just wait for the dvd release if ever it comes out.
Post by: RMN on Feb 29, 2004 at 01:59 PM
Post by: wedge on Feb 29, 2004 at 04:48 PM
Post by: jdv1229 on Mar 01, 2004 at 05:05 AM
Speaking of Mike de Leon, caught up Kung Mangarap Ka't Magising last Friday during Cinema Paraiso Film Fest at NCCA in Intramuros. It's a nice film, semi-bittersweet, but I was disappointed at the resolution. More of anticlimactic, but somehow resolved, anyway. I was hoping a confrontation between Boyet's character and Hilda's hubby--a typical ending to a Filipino romance movie.
I actually enjoyed Kung Mangarap Ka't Magising... it's a refreshing follow-up movie to Mike de Leon's first film the supernatural thriller Itim. It's a light romantic drama with an engaging performance by Hilda Koronel. ;)
Post by: jdv1229 on Mar 01, 2004 at 06:15 AM
Who stars in Magkano ang Iyong Dangal?
Magkano Ang Iyong Dangal? starred Christopher de Leon, Zsazsa Padilla, Joel Torre, Princess Punzalan & jestoni Alarcon directed by Laurice Guillen & produced by Seiko Films.
Post by: Noel_Vera on Apr 29, 2004 at 01:28 PM
Incidentally, the best picture of that year, "Babae sa Breakwater" (Woman of the Breakwater) has been invited to the Director's Fortnight. First Filipino feature film to make it to Cannes since, I believe, Lino Brocka's "Orapronobis" (Fight for Us, 1989).
Post by: edsa77 on Apr 29, 2004 at 04:24 PM
Noel, where can I secure a copy of that Atlas issued by Cahiers du Cinema?
Post by: firewired on Apr 29, 2004 at 05:33 PM
And from what I heard, someone's (dunno who) planning to release this on DVD.
As I've said it's not certain...is there someone who can confirm this and kill the rumor?
Noel Vera and I met with Batang West Side's producer 2 years ago and talked about a DVD release after the theater run. PinoyDVD was the first to offer it at that time. We had verbal though admittedly non-binding agreement to work on it. Unfortunately, the commercial run never happened for the film so the plans for the video release never materialized.
Too bad. I still feel that the DVD set would've done well given the hype at that time.
Regarding the 2-disc set, we proposed that format given the length of the film. We were told though that any attempt to split BW would probably be an issue with Lav. He really meant for it to be seen in one sitting.
Post by: Noel_Vera on Apr 30, 2004 at 02:05 AM
Post by: edsa77 on May 19, 2004 at 12:24 AM
Hugos - Maryo J. delos Reyes penned by Michiko the Great. Will star the members of Bohol Boy's Choir
Naglalayag - Maryo J. delos Reyes starring Nora Aunor
Ebolusyon - Lav Diaz, tapos na siya! yay!
Babang Luksa - Jeffrey Jeturian
Pagsapit ng Dilim - Jeffrey Jeturian
Usahay - Jeffrey Jeturian
Bikini Open - Jeffrey Jeturian
Volta - Wenn Deramas from Star Cinema
Zsa Zsa Zaturnah - baka kay Jeffrey Jeturian din...
Wala na akong balita kay Tikoy.
Post by: mykoleo on May 19, 2004 at 07:26 PM
BTW, what's BABANG LUKSA all about?
Post by: pinoymovies on Jun 09, 2004 at 09:48 PM
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3820636528
Post by: RMN on Jun 10, 2004 at 11:36 AM
Post by: Noel_Vera on Jun 10, 2004 at 11:56 AM
noel, anyone, what do you think of tatlo, dalawa, isa?
Out of nowhere, just like that! ;D
Like most omnibus movies, a mixed bag. I thought the first was the weakest, even if it's the most verite, tho I do remember being tramuatized by the sight of Jay Ilagan being shorn of his hair when I first saw it. The second (Mario O'Hara's script) I thought very finely written and acted. But my favorite has to be the third, the gothic story--that one had everything, plus a gorgeous visual style that Cuaron would have approved (cinematography by Romy Vitug, and one of the rare instances where his beautiful camerawork was completely justified--in fact, actually helped enhance the telling of the story).
Post by: RMN on Jun 10, 2004 at 12:59 PM
Out of nowhere, just like that! ;D
It was shown on free tv the other day, Noel ;D
I only caught the last segment and I have to agree with your observations. Mary Walter and Lolita Rodriguez, as expected, acted wondefuly and the visual style was indeed gorgeous.
Post by: Noel_Vera on Jun 10, 2004 at 01:28 PM
Post by: mykoleo on Jun 12, 2004 at 02:20 PM
Allow me to share some comments culled from the CRITICS' NIGHT preview of Maryo de los Reyes' film NAGLALAYAG last Friday. This came from a member of the e-group ICON (International Circle of Online Noranians):
"In Naglalayag La Aunor proves to us that she is beyond formula and convention. Hers is a performance that is both touching and forceful, with a serene madness no other flight of fancy can escape."
- J. Pilapil Jacobo
Young Critics Circle Film Desk
"Mahusay ang pagkakagawa ng pelikula. Napakagaling ng acting ni Nora bilang judge."
- Bienvenido Lumbera
Manunuri ng Pelikung Pilipino
"The best performance of Nora Aunor since Bilangin ang Bituin sa
Langit."
- Patrick Flores
Young Critics Circle Film Desk
"Vitality and intelligent delivery among the major players—this film offers both high drama and thrills."
- DM. Reyes
Department of Filipino
Ateneo de Manila University
"Director Maryo J. de los Reyes helms another simple story targeted for the international market. Nora Aunor and Yul Servo aptly delivers in their role as a respected judge and an innocent taxi driver, respectively. While it is the trend to pair older men with younger female counterparts, Irma Dimaranan's screenplay seeks to challenge the norm and succeeds in doing so."
- Seymour Barros Sanchez
Film reviewer, Peyups.com and The Manila Times
(former editor in chief of the Philippine Collegian)
"Kaya pa pala ni Nora na magpakilig."
- Seymour Barros Sanchez
"After five years, Nora graces the big screen at her renewed best in a role that is testament to her maturity as the one true premier
actress of Philippine cinema."
- Nonoy Lauzon
Young Critics Circle Film Desk
"What will you expect but a very convincing performance as a judge from Ms. Nora Aunor."
- Philip Panganiban
Film reviewer
And from our very own Nikos Dacanay: "In Naglalayag, we finally see a different Nora Aunor, brave and confident, the Filipino woman of today. The movie is entertaining with a witty script that tackles May-December affair in a fresh manner. Yul Servo and Aleck Bovick proves in this movie that they were deserving of their acting awards."
Abangan natin ang full reviews ng critics quoted above. Ipinangako ni Patrick Flores ang kanyang review sa Manila Standard on June 22, a day before the regular showing. Biro rin niya, we may refer to Nonoy Lauzon as the ex-Vilmanian after Naglalayag. Sana ay may early review din si Gerard Ramos sa Today. Dr. Nanette Dungo, UP professor of sociology of women and labor, also attended the preview; she'll give her comments on the film later. Almost half of the guests who confirmed to attend didn't make it. (Kalokah!) They will have another
chance at the press preview this Thursday, 12 noon, also at
Sampaguita Pictures compound. FYI, napanood na nina Butch Francisco at Nestor Torre ang Naglalayag dahil members sila ng Cinema Evaluation Board.
__________________________________________________________________
Thanks.
Myke
Post by: rse on Jun 22, 2004 at 11:10 PM
Post by: Noel_Vera on Jun 23, 2004 at 07:49 AM
Post by: edsa77 on Jun 23, 2004 at 12:26 PM
Post by: RMN on Jul 08, 2004 at 03:36 PM
Post by: mykoleo on Jul 10, 2004 at 08:15 PM
Anybody here who got the juice from O'Hara's grapevine?
Myke
Post by: Noel_Vera on Jul 11, 2004 at 10:28 AM
Whatever it is, that's a very exciting prospect...
Post by: jdv1229 on Jul 11, 2004 at 08:05 PM
That Nora Aunor vehicle could be Hocloban, or Hangang Dito Na Lang at Maraming Salamat Po (I think Jojo tells me that), where she will play a man, perhaps a gay man. Or it could be Javellana's Without Seeing the Dawn.
Whatever it is, that's a very exciting prospect...
i believe it's Javellana's Without Seeing The Dawn... although Ate Guy still hasn't read the script, but what she's really looking forward to doing is Hanggang Dito Na Lamang at Maraming Salamat Po.
Post by: mykoleo on Jul 11, 2004 at 09:25 PM
i believe it's Javellana's Without Seeing The Dawn... although Ate Guy still hasn't read the script, but what she's really looking forward to doing is Hanggang Dito Na Lamang at Maraming Salamat Po.
Hi, Brod Jo!
I've read the book "Without Seeing The Dawn" when I was in high school. Hit me like a hurricane, that Javellana masterpiece. But as far as I remember, the two main characters in the novel were lovers whose lives were irrevocably ruined in the wake of the Japanese war. Pero parang hindi yata babagay sa edad ni Ms. Nora yung role ng babae kasi sa natantandaan ko mukhang in her 20s yong character. In fact, years later after reading the book, I thought that it would make a classic film at bagay na bagay si Dawn Zulueta, Sharmaine Arnaiz or Chin-Chin Gutierrez for the female protagonist. Sa panahon ngayon, feel ko mas swak yong role kay Katherine Luna, lalo na't siya ang flavor of the season ni Mario.
Mas feel ko na gawin ni Ms. Nora at Mario either "Hocloban" or "Hanggang Dito Na Lamang At Maraming Salamat Po." Palagay ko ang mga roles niya in these two scripts would showcase the best in her. Pardon me for being too nosy, but when you talked to Ms. Nora the last time, did you ask her perchance if there's gonna be any chances of her doing "Hocloban" soon? Atat na atat talaga ako na gawin niya itong pelikulang ito after Noel Vera shared a few tidbits about the script which he was lucky enough to read.
Thanks. God bless.
Myke
Post by: jdv1229 on Jul 12, 2004 at 02:22 AM
Hi, Brod Jo!
I've read the book "Without Seeing The Dawn" when I was in high school. Hit me like a hurricane, that Javellana masterpiece. But as far as I remember, the two main characters in the novel were lovers whose lives were irrevocably ruined in the wake of the Japanese war. Pero parang hindi yata babagay sa edad ni Ms. Nora yung role ng babae kasi sa natantandaan ko mukhang in her 20s yong character. In fact, years later after reading the book, I thought that it would make a classic film at bagay na bagay si Dawn Zulueta, Sharmaine Arnaiz or Chin-Chin Gutierrez for the female protagonist. Sa panahon ngayon, feel ko mas swak yong role kay Katherine Luna, lalo na't siya ang flavor of the season ni Mario.
Mas feel ko na gawin ni Ms. Nora at Mario either "Hocloban" or "Hanggang Dito Na Lamang At Maraming Salamat Po." Palagay ko ang mga roles niya in these two scripts would showcase the best in her. Pardon me for being too nosy, but when you talked to Ms. Nora the last time, did you ask her perchance if there's gonna be any chances of her doing "Hocloban" soon? Atat na atat talaga ako na gawin niya itong pelikulang ito after Noel Vera shared a few tidbits about the script which he was lucky enough to read.
Thanks. God bless.
Myke
Hello Myke!
I just read this morning that "Without Seeing The Dawn" will indeed star Katherine Luna in the role of Lucing. As far as I know there's no truth to the movie project being offered to Ate Guy by Entertainment Warehouse. I asked Ate Guy about the possibility of working with Mario O'Hara again. She didn't mention anything about "Hocloban" but she told me about "La Loba Negra." I think at one time she was really excited to make the movie but that was during her desire to run as Governor of Camarines Sur so the movie didn't push through. Ate Guy also told me that O'Hara was originally tapped to direct Naglalayag but due to conflicting schedules the project was offered to Maryo J. I told her that in 1984 "Bulaklak Sa City Jail" was to be helmed by Maryo J. but went instead to Mario O'Hara.
Post by: Noel_Vera on Jul 12, 2004 at 04:29 AM
Jojo, La Loba Negra IS Hocloban. He changed the title because someone's claiming the rights to it.
Post by: jdv1229 on Jul 12, 2004 at 05:10 AM
O--Naglalayag done by O'Hara? I would have loved to see that. Anything with O'Hara and Nora together again, I would love to seee.
Jojo, La Loba Negra IS Hocloban. He changed the title because someone's claiming the rights to it.
i didn't know that Noel... apparently so does Ate Guy. wouldn't it be great to see the two of them collaborate again on a new film?
Post by: Noel_Vera on Jul 12, 2004 at 05:39 AM
Maybe Without Seeing the Dawn has a good supporting role for her.
Post by: jdv1229 on Jul 12, 2004 at 09:11 AM
It sure is.
Maybe Without Seeing the Dawn has a good supporting role for her.
i think Katherine Luna will be doing the movie... i wouldn't want to see Nora Aunor in a supporting role. it's probably a different project altogether.
Post by: mykoleo on Jul 12, 2004 at 01:12 PM
Miscast sina Ms. Nora at Boyet for either "Without Seeing The Dawn." In "Hanggang Dito Na Lamang...," hindi din babagay si Boyet doon kasi yong character ng lalaki is supposed to be a younger than the gay lover (which would be Ms. Nora's role).
Myke
Post by: jdv1229 on Jul 12, 2004 at 08:38 PM
Palagay ko "HOCLOBAN" (La Loba Negra) nga itong project na ino-offer ni Mario to Boyet and Ms. Nora. The role of the sorceress is perfect for her while the object of her hatred and affection, (si Gen. Bustamante ba yon, Noel?) will suit Boyet just fine, although I would have preferred Ronaldo Valdez or Michael de Mesa in that role. The role of Nora's son would be nice for Ian de Leon, or Jericho Rosales, or Romnick Sarmenta.
Miscast sina Ms. Nora at Boyet for either "Without Seeing The Dawn." In "Hanggang Dito Na Lamang...," hindi din babagay si Boyet doon kasi yong character ng lalaki is supposed to be a younger than the gay lover (which would be Ms. Nora's role).
Myke
all i know is that Ate Guy really wants to make a movie for the festival. whatever project might that be it sure be great to see her re-team again with Mario O'Hara. what's ironic is if this ever pushes through this will be a reunion of sorts for the three of them. the first & last time they all worked together was in Tatlong Taong Walang Diyos. it's really something to look forward to.
Post by: pinoymovies on Jul 15, 2004 at 12:37 PM
Festival of restored Pinoy films kicks off tomorrow
Date: 7/13/2004 9:45:50 AM
Source: Business World
National Artist for film Eddie Romero's 1966 movie Passionate Strangers will open a festival of restored Filipino films on July 14, 7 p.m. at the Cine Adarna of the UP Film Institute (formerly UP Film Center), after the opening ceremony with Mr. Romero as guest of honor.
Restored Filipino films dating back as far as the pre-war years will be screened in Ukay-Ukay: Where's The Archive: A Festival of Restored Filipino Films Classics on July 14-18 at the UP Film Institute and on July 21-25 at the Cultural Center of the Philippines.
The festival is presented by the Society of Film Archivists (SOFIA) in cooperation with the CCP, UP Film Institute and the NCCA. SOFIA is a non-stock nonprofit organization of archiving professionals dedicated to conserving the country's cinematic heritage.
The festival will feature 17 films and will be highlighted by the premiere of two of the latest restoration efforts of SOFIA, Passionate Strangers and Banta ng Kahapon, both directed by National Artist Eddie Romero. The festival will also feature exhibits and lecture discussions on relevant themes. On July 21 at the CCP, Sining Taktakan, the CCP's monthly forum on media, culture and art, will tackle film archival issues. The topic for discussion will be "Making Torotot on Classics: Do Filipinos have zero archival consciousness and little sense of cinematic history?"
Passionate strangers
Set in a sugar plantation town in the South, Passionate Strangers is an intense tale about love, infidelity, politics, and murder. It tells of how an accidental crime of passion is turned into an arena for political intrigue and exploitation as it examines the volatile Filipino-American relationship. The film's performers were American actors Mike Parsons and Violeta Noland, Mario Montenegro, Celia Rodriguez, Vic Diaz and Butz Aquino. The film won best director and supporting actress honors to Romero and Rodriguez, respectively, at the 1966 Famas Awards.
Another Romero film, Banta ng Kahapon, will close the festival on July 25, 7:30 p.m. at the CCP Tanghalang Aurelio Tolentino. The 1977 film is set against the backdrop of the 1969 Congressional elections, a political milieu dominated by guns, goons, and gold; and gives a realistic depiction of contemporary Philippine political scene. It stars Vic Vargas, Roland Dantes, Bembol Roco and Chanda Romero and won the Gawad Urian for best editing.
Other restored film included in the festival are the four films from Sampaguita Pictures: Jack & Jill (1954, Dolphy, Lolita Rodriguez and Rogelio de la Rosa, directed by Mar S. Torres), MN (1954, Carmen Rosales, Cesar Ramirez, Alicia Vergel and Oscar Moreno, directed by Mar S. Torres), Dalagang Ilokana (1954, Gloria Romero, Ric Rodrigo and Dolphy, directed by Olive La Torre), and Maalaala Mo Kaya (1954, Carmen Rosales and Rogelio de la Rosa, directed by Mar S. Torres); three films from LVN including its first production the 1939 film Giliw Ko (Fernando Poe and Mila del Sol, directed by Octavio Silos), Biyaya ng Lupa (Tony Santos and Rosa Rosal, directed by Manuel Silos) and Malvarosa (1958, Charito Solis and Leroy Salvador directed by Gregorio Fernandez): Premiere's Sanda Wong (1955), directed by Gerardo de Leon; Lino Brocka's Ano ang Kulay ng White Slavery (1984, Jaclyn Jose, Sarsi Emmanuelle and Emily Loren); Ishmael Bernal's debut Pagdating sa Dulo (1971, Rita Gomez and Vic Vargas); and Chat Gallardo's Seksing-Seksi (1959, Aura Aurea and Leopoldo Salcedo).
The festival schedule (UP Film Institute): July 15 Maalaala Mo Kaya (3 p.m.), Seksing-Seksi (6 p.m.); July 16 Dalagang llokana (3 p.m.), Ano ang Kulay ng Mukha ng Diyos (6 p.m.); July 17 Jack & Jill (2 p.m.), MN (4 p.m.), White Slavery (7 p.m.); July 18 Sanda Wong (3 p.m.), Pagdating sa Dulo (6 p.m.). At the CCP: July 21 Jack & Jill (2 p.m.), Seksing-Seksi (7 p.m.); July 22 Giliw Ko (4 p.m.), Biyaya ng Lupa (7 p.m.); July 23 MN (4 p.m.), Passionate Strangers (7 p.m.); July 24 Naalala Mo Kaya (1:30 p.m.), Malvarosa (4 p.m.), Pagdating sa Dulo (7 p.m.); July 25 Dalagang Ilokana (4 p.m.), Banta ng Kahapon (7 p.m.).
For details call the CCP Media Arts Division at 832-1125 local 1704 or the UP Film Institute at 926-3640.
Post by: RMN on Jul 15, 2004 at 02:38 PM
Our favorite showbiz couple, Carlo J. Caparas and Dona Villa, is keen on doing a Angelo de la Cruz biopic! God save us! ;D
Post by: Noel_Vera on Jul 17, 2004 at 07:31 AM
Link is good until Thursday night next week:
http://www.bworld.com.ph/weekender/cinema/review1.html
Post by: RMN on Jul 23, 2004 at 04:57 PM
And the director, Manuel Silos, showed a surprisingly good level of proficiency with his well framed shots.
The print, by the way, was newly restored by LVN from a copy from the CCP archive. However, some scenes were brighter, cleaner and clearer than the rest.
Post by: keating on Jul 27, 2004 at 07:19 PM
This was shown on channel 13 during my elementary days over & over again.... ;D
and the villain is very cool...Chanda Romero handling that mirror... ;D
Post by: jdv1229 on Jul 28, 2004 at 06:26 AM
Post by: keating on Jul 28, 2004 at 08:08 AM
what i would really love to see is Supergirl with Pinky Montilla... talk about over the top fantasy movies. i vividly remember Odette Khan playing a mad scientist with Enrico Villa playing her sidekick. she then creates a giant bull frog that wreaks havoc in their small village killing Nick Romano, Mildred Ortega and Ike Lozada and of course who could forget Walter Navarro and Djoanna Garcia playing zombies. ;D
speaking of that movie...Odette Khan those piercing eyes.... manage to make you chill everytime you see it... ;D
Post by: RMN on Jul 28, 2004 at 01:09 PM
Oh, the lavish production design! the ensamble cast! the powehouse performances! (check-out charo santos as dona anastacia vda. de tuason! gina alajar as her daughter!) the riveting plot twists! the masterful direction!
the film btw, was produced by VH films, owned by joey marquez' sister via hoffman who also gave us kaya kong abutin ang langit.
Post by: keating on Jul 28, 2004 at 01:42 PM
i just caught mario j.'s forgotten epic masterpiece: hindi mo ako kayang tapakan.
Oh, the lavish production design! the ensamble cast! the powehouse performances! (check-out charo santos as dona anastacia vda. de tuason! gina alajar as her daughter!) the riveting plot twists! the masterful direction!
the film btw, was produced by VH films, owned by joey marquez' sister via hoffman who also gave us kaya kong abutin ang langit.
It's one of Maryo's best flicks, powered by riveting performances from the entire cast headed by Charo Santos.
Check out the funeral scene where she throw lots of money to her grandchildren who were responsible for killing her. And the killer was the legendary Anna Marie Gutierrez.
Post by: RMN on Jul 28, 2004 at 02:04 PM
Post by: RMN on Aug 06, 2004 at 06:51 PM
Post by: rse on Sep 11, 2004 at 12:58 AM
Post by: Noel_Vera on Sep 11, 2004 at 09:49 AM
Post by: RMN on Oct 27, 2004 at 05:33 PM
Post by: RMN on Nov 05, 2004 at 04:42 PM
THE OUTSIDER By Erwin Romulo
The Philippine STAR 11/05/2004
Don’t resurrect the dead.
It’s the English translation of the title of an awful Filipino film released in the 1980s that involves Satanists, mad doctors and ghastly makeup (the latter the only real horror in the movie). Yet it seems pertinent – and admittedly a bit flippant – to introduce any discussion on Philippine Cinema and global recognition. Golden Ages have come and gone: their brightest stars either dead or forgotten, perhaps both. The films themselves are rotting away in bureaucratic hells that stink of vinegar or lining the paper trumpets children blow on New Year to ward off evil spirits. If we are to believe our own critics, the final nail was hammered in long ago and almost no one from the international community even bothered to send their condolences.
Yet films are still being made: the entertainment industry continues to thrive despite an ailing economy. But with issues of piracy and competition from big-budget Hollywood extravaganzas, most producers are content to indulge in cannibalism and necrophilia: peddling the same material over and over with only some new effects thrown in as a sign of growth. It’s not unlike tribesman parading the dead because the corpse’s hair and nails continue to grow.
It’s a sad fact given that, according to film scholar Antonio D. Sison, that Filipinos were watching films a "mere two years after the invention of the cinematographe by the Lumiere brothers in 1895." Sadder still because at its best local movies have proven to be of superior quality and have won accolades in international competitions.
As early as 1937, productions such as Zamboanga directed by Eduardo de Castro and starring Fernando Poe Sr. and Rosa del Rosario were praised by no less than Frank Capra, director of American classics such as Mr. Deeds Goes to Washington and It’s a Wonderful Life. Quoted by Arsenio Bautista in an essay, Capra was reported to have said: "It’s the most exciting and beautiful picture of native life I’ve ever seen." Bautista is also quick to point out that Hollywood was so impressed by Manuel Conde’s film Ghengis Khan – screened at the Venice Film Festival in 1952 alongside Akira Kurosawa’s Rashomon – that it remade the film and cast the Duke himself, John Wayne, in the title role. After the war, films like LVN Pictures’ Anak Dalita and Badjao both directed by National Artist for Film Lamberto Avellana garnered awards at the Asian Film Festivals. Another National Artist, Gerardo de Leon, made films such as The Moises Padilla Story, adaptations of Jose Rizal’s Noli Me Tangere and El Filibusterismo and 48 Oras, which had the Cahiers du Cinema hailing the director as a "master." (If independent filmmaker Cesar Hernando is to be believed, Walter Hill’s own 48 Hours borrows heavily from De Leon’s film, particularly in its opening.)
In the 1970s, after the collapse of the studio system and the declaration of martial law, there came a spate of films that heralded a local nouvelle vague or a new Golden Age (let’s leave it to the critics to decide which). Amidst the bomba and fighting fish inserts of the times, local audiences were watching Lino Brocka’s Tinimbang Ka Ngunit Kulang. Scathing in its indictment of Philippine society, the film was not only a critical favorite but also a top-grosser. Not since Rizal’s books had Filipinos flocked to a work of art to be chastised by.
For many film historians abroad (or rather programmers of Asian retrospectives and showcases), Brocka is the key – and perhaps only – name. Proof of this can be found by looking at cineaste bibles such as Ephraim Katz’s Film Encyclopedia, which has no entry on Philippine cinema whatsoever – only a hundred words or so on Brocka. His film Maynila, Sa Mga Kuko ng Liwanag is the only Filipino film to be included in the British Film Institutes list for the greatest films in the first century of cinema.
But in 1974, however, he greeted everyone with a primal scream: Tinimbang opens with one of the most harrowing abortion scenes ever exposed to celluloid. The film’s story is as shocking.
It follows the story through the eyes of a young man (Christopher de Leon) who befriends the town leper (Mario O’ Hara) who is having an affair with the town idiot (Lolita Rodriguez). She becomes pregnant causing a scandal that raises the furor of the town-folk. Ultimately, it is exposed that the youth’s father (Eddie Garcia) was the father of the unfortunate’s aborted child, driving her insane.
The film is considered a landmark not because it was the best film of the period. Rather, it fulfilled the promise of a great talent that had finally found his voice. Two years later, more would cry out.
Critics agree that 1976 was a watershed year, far from halcyon but fruitful nonetheless. Films like Ishmael Bernal’s Nunal sa Tubig and Mike de Leon’s Itim graced cinema screens and employed a more impressionistic palette than in the past to create a cinema of mood rather than of bombast. Both educated abroad, Bernal and de Leon made films that were European in influence but essentially Filipino in content. With Brocka, they form the trinity of Philippine cinema that emerged from the 1970’s.
Not that the films were always box-office successes. A year after Tinimbang, Brocka’s Maynila was released and it flopped. Produced and photographed by Mike de Leon, it was even bolder than its predecessor: mixing documentary realism with film noir lighting, naturalistic acting with evocative music to devastating effect. It was Brocka widening his canvas to go beyond the small town of his previous effort to the belly of Manila itself. It has been recognized more abroad, having a successful run in Paris.
Bernal’s Nunal sa Tubig fared better but was far from being a hit. That was good enough for a film that confounded even Bernal’s admirers.
De Leon’s Itim was a commercial failure – an inauspicious start for one of Philippine cinema’s undisputed but elusive masters. Scion of LVN Pictures, he grew up with cinema. Principally interested in photography, he soon felt confident to direct after his experience on Maynila. Often compared to filmmakers such as Stanley Kubrick and Michelangelo Antonioni, his first film was likened to the low-budget Val Newton-produced horror films of Jacques Tourneur by the foreign press when it did the festival circuit. Ignored at home, it won the Best Picture prize at the Asian Awards of that year.
In 1977, independent film-making was also making its presence felt abroad when an unknown Eric de Guia won the International Critic’s Prize in the Berlin Film Festival as Kidlat Tahimik. The film was called Mababangong Bangungot and continues to be screened abroad.
As the 1980s rolled in, political unrest was escalating, reaching a peak with the assassination of Sen. Benigno Aquino in 1983. Perhaps sensitive to climate, filmmakers were spurred to make films that continued to provoke a strong reaction both in the Philippines and abroad. With Insiang in 1976, Brocka became an international celebrity, showing other films like Jaguar and Bona to wide acclaim in festivals most notably the prestigious Cannes Film festival. During the 80s, he was Philippine cinema to the world at large, a role he ably played by directing films like Bayan Ko, Kapit sa Patalim.
According to some pundits, though, it was De Leon who made a milestone in Cannes history by being the first director to have two films showing at the Director’s Fortnight at the same time ever. Those two films, Kisapmata and Batch 81, were both flops on initial release in the Philippines.
After the People Power revolution in 1986, the world had its eyes on the Philippines. Time Magazine declared the new president Corazon Aquino Woman of the Year. The economy was picking up and foreign watchers trained their eye towards the country. With all this attention and expectation, observed film archivist Jo Atienza, the best the local film industry could offer were puerile comedies like Pido Dida (that incidentally starred Aquino’s youngest daughter).
Again, it’s independent cinema that picks up the thread that leads toward the 1990s. In 1983, a Fine Arts student at the University of the Philippines named Raymond Red makes a first stab at filmmaking by directing a short called Ang Magpakailanman on super 8mm. Inspired by the works of Fritz Lang and the German Expressionists, he would make further shorts like Ang Hikab (1984), Mistula (1985) and A Sketch for the Skies that were well received abroad and would secure his reputation as the best Filipino short film director. In Pearlie Rose S. Baluyot’s short biography of the director, she says that even Brocka himself and British film critic Tony Rayns praised Red’s talent. Rayns going so far as to say that Red was "a talent on a Wellesian scale".
Red debuted his first feature-length motion picture Bayani at the 1992 Berlin Festival’s Forum of Young Cinema. According to Baluyot, it was televised on German television a month later and competed at the Tokyo Film Festival. It earned favorable reviews both here and abroad. His follow-up Sakay based on the Filipino revolutionary was met with mixed response.
After winning the Hubert Bals award at the 1993 Rotterdam Film Festival to develop the screenplay for his third feature Makapili, Red started to work extensively in advertising. As journalist Lourd de Veyra has said: "Jumping from the independent cinema raft to the advertising cruise liner was a financial decision." Unable to find financing for his projects, Red returned to short film making with Anino, which would eventually win the Palm D’ Or at the 53rd Cannes International Film Festival.
Pito-pito was the term used to describe low budget films churned out by the commercial film outfits like Regal Films. Not unlike the B-movies of Roger Corman that gave young upstarts like Joe Dante and Francis Ford Coppola their break, the pito-pito films in the 1990s ushered in new talents like Jeffrey Jeturian, Rico Maria Ilarde and Lav Diaz. All three would make waves abroad to some degree but no hoopla akin to a beauty titlist’s clinching second runner-up in the Miss Universe contest. * * *
Don’t resurrect the dead.
Yet the Philippine cinema is showing signs of life, faint but nonetheless growing louder. Diaz’s five-hour drama Batang Westside is considered the first Filipino masterpiece of the 21st century and has festivals buzzing with excitement for his next – even longer – film Ebolusyon. Red’s older brother Jon Red has made worthwhile films like Still Lives and Astig, the latter winning the Silver DV award at the Hong Kong International Film Festival. Both films have not enjoyed a wide-commercial run in the Philippines.
Brocka and Bernal are dead; De Leon produced, co-wrote and directed the only Jose Rizal film of note so far Bayaning Third World to critical acclaim here and abroad – it flopped on commercial release.
Up until now, Red’s planned third feature Makapili has not started production.
In the 21st century, new filmmakers have sprung up most notably from music video world like Lyle Sacris and Quark Henares. Both released critically lauded works in 2003 but did poorly at the box-office. (As of writing, Henares’ romantic comedy Keka received the audience award at the 2004 Los Angeles Pan Asian film festival.)
Perhaps the most genuine form of foreign recognition for Philippine cinema can be found not in Europe but in a small theatre in present-time Virginia. Here Americans pay $10 to watch old Niño Mulach and Ramon Revilla films. With buckets of buttered popcorn and beer in plastic cups, they howl with delight at the inane special effects as well as the ham acting. It looks like they’re having a ball.
And why not?
"What’s a resur-rection without a few laughs anyway?" * * *
Thank you to Jo Atienza for her insightful comments and Alexis Tioseco for putting much older film critics to shame.
Post by: keating on Nov 05, 2004 at 09:01 PM
Post by: Noel_Vera on Nov 06, 2004 at 12:09 PM
Minor complaint: Tatlong Taong Walang Diyos was the other significant 1976 film, y'know (along with Minsa'y Isang Gamu-Gamo, come to think of it), and where's Celso Ad. Castillo? But yeah, pretty good.
Post by: jdv1229 on Nov 07, 2004 at 12:46 PM
Pretty good.
Minor complaint: Tatlong Taong Walang Diyos was the other significant 1976 film, y'know (along with Minsa'y Isang Gamu-Gamo, come to think of it), and where's Celso Ad. Castillo? But yeah, pretty good.
i guess Insiang was most remembered because it was exhibited at the Director's Fortnight of the Cannes Film Festival. but i agree Tatlong Taong Walang Diyos & Minsa'y Isang Gamu-gamo were among the best of 1976 along with Ganito Kami Noon...
Post by: Noel_Vera on Nov 07, 2004 at 02:16 PM
Well, confession: I don't really like Ganito and Minsa'y. They mean well, and their message is exemplary, but I can't really consider them very good films. Also happen to think Nunal is overrated (tho much, much better than Marilou's remake--Sa Pusod ng Dagat).
Post by: RMN on Nov 18, 2004 at 05:02 PM
Post by: RMN on Nov 19, 2004 at 05:36 PM
Sumakay tayo sa buwan (?) to be written by Lualhati Bautista and hopefully starring Nora
Without Seeing the Dawn starring Robin Padilla
Hocloban he's been trying to buy out from the producer that owns it but to no avail.
Post by: edsa77 on Nov 20, 2004 at 10:06 AM
Is this anothe case of 'ill lick your ass and you'll lick mine later?'.
Geez!
Post by: Noel_Vera on Nov 20, 2004 at 02:01 PM
What was Celso Ad Castillo smoking when he wrote the script of, and directed Tag Ulan sa Tag Araw? ;D
Lemme see--is this the Dina Gary romance, or the incest movie with Vilma and Boyet?
Either way, well, storytelling was never his strong suit (cocaine, I suspect ;D). It's the filmmaking that's so beautiful.
Post by: Noel_Vera on Nov 20, 2004 at 02:04 PM
Mario O'Hara has two films lined-up for production next year:
Sumakay tayo sa buwan (?) to be written by Lualhati Bautista and hopefully starring Nora
Without Seeing the Dawn starring Robin Padilla
Hocloban he's been trying to buy out from the producer that owns it but to no avail.
Coolness. I can see Padilla as the star of Without Seeing the Dawn.
Hocloban--not Tony, is it?
Post by: Noel_Vera on Nov 20, 2004 at 02:13 PM
ricol ilarde who?
He's got talent (check out his first feature, Z Man), even if he only chooses to concentrate on the horror genre; I prefer him visually to the flashier young punks (Erik Matti, lanaras whatsisname). His main weakness is his scripts, which are mainly written by Andrew Paredes. Give him a real writer (Bing Lao, or Lav Diaz), and I predict he will shine.
Post by: RMN on Nov 20, 2004 at 09:17 PM
Lemme see--is this the Dina Gary romance, or the incest movie with Vilma and Boyet?
Either way, well, storytelling was never his strong suit (cocaine, I suspect ;D). It's the filmmaking that's so beautiful.
It's the latter. :)
Post by: keating on Feb 01, 2005 at 08:06 AM
And perhaps the movie created the most sympathetic gay character in Philippine cinema played by Mark Gil as the best friend of Dina Bonnevie.
I wonder how Eddie Garcia will fare in the upcoming Gallaga flick....PINOY BLONDE? ???
Post by: Noel_Vera on Feb 01, 2005 at 01:41 PM
I just saw Lino Brocka's PALIPAT-LIPAT, PAPALIT-PALIT. Dina Bonnevie and Christopher de Leon are excellent as a couple trying to save their relationship. I thought I was watching a Bernal flick with those witty lines thrown in!
And perhaps the movie created the most sympathetic gay character in Philippine cinema played by Mark Gil as the best friend of Dina Bonnevie.
I wonder how Eddie Garcia will fare in the upcoming Gallaga flick....PINOY BLONDE? ???
Oooh, I know the names of the people that movie is based on...but I can't tell... ;D
Post by: keating on Feb 01, 2005 at 05:18 PM
Oooh, I know the names of the people that movie is based on...but I can't tell... ;D
Who wrote the sceenplay of that movie, Noel? Can you share the people behind it thru pm? ;D ;)
Post by: jdv1229 on Feb 02, 2005 at 06:01 AM
Who wrote the sceenplay of that movie, Noel? Can you share the people behind it thru pm? ;D ;)
are you talking about the screenplay for Palipat-lipat? it was written by Bibeth Orteza. Noel... share it naman. ;D
Post by: Noel_Vera on Feb 02, 2005 at 01:17 PM
Who wrote the sceenplay of that movie, Noel? Can you share the people behind it thru pm? ;D ;)
Bibeth is on record as the scriptwriter, sure, but that's not what I'm talking about. Anyway, if I say anything more, they'd prolly have to kill me and whoever I've blabbed it to. ;D
Post by: keating on Feb 02, 2005 at 07:24 PM
are you talking about the screenplay for Palipat-lipat? it was written by Bibeth Orteza. Noel... share it naman. ;D
yeah Jojo. BTW thanks again for the copy.... :).....Noel there's pm if you dont want to discuss it here man...... ;)
Post by: rse on Feb 02, 2005 at 10:59 PM
Post by: Noel_Vera on Feb 03, 2005 at 02:13 PM
yeah Jojo. BTW thanks again for the copy.... :).....Noel there's pm if you dont want to discuss it here man...... ;)
Sorry, not even pm...I've too many enemies as is... ;)
Post by: RMN on Feb 03, 2005 at 02:21 PM
Eddie Garcia's work, on the other hand, thought not entirely bad,( I liked his directing style here as well as the cinematography) suffers because, alas, it is a Viva movie. And like most Viva releases it about the rich and the not-so-
rich. And the story, well, was too commercial. I was in fact surprised that it was written by Bing Lao. (but to be fair the story wasn't his)
Post by: Noel_Vera on Feb 03, 2005 at 04:15 PM
Post by: jdv1229 on Feb 03, 2005 at 06:35 PM
for one, Bakit Bughaw came out first... it was released in 1981 while Saan Nagtatago if i'm not mistaken was shown in 1987. O'Hara is a much better filmmaker than Garcia... i must say that Alicia Vergel gave one her most memorable performances in the film as the domineering partriarch although not in the same league as Anita Linda's portrayal of Nora's mother in Bakit Bughaw.Watching Eddie Garcia's Saan Nagtatago ang Pagibig? for the second
time last saturday, one can't help but compare it to Mario O' Hara's Bakit Bughaw ang Langit? for the reason that both films have,
as a major character, a mentally disabled person among othersimilarities. Without starting a Nora-Vilma debate here, I would have to say that O'Hara's work is better. To me, its more heartfelt and more real; you could really relate with the characters and situtations that are atypical of the Philippine setting. You laugh, you cry, along with them...when Nora got fed up and raised hell, you sympathized and sided with her.
Eddie Garcia's work, on the other hand, thought not entirely bad,( I liked his directing style here as well as the cinematography) suffers because, alas, it is a Viva
movie. And like most Viva releases it about the rich and the not-so-
rich. And the story, well, was too commercial. I was in fact surprised that it was written by Bing Lao. (but to be fair the story wasn't his)
Post by: keating on Feb 03, 2005 at 06:53 PM
Being an actor and a filmmaker at the same time helps a lot in cultivating a movie. Garcia can also deliver the goods.
Post by: jdv1229 on Feb 04, 2005 at 06:22 AM
Eddie Garcia's IMORTAL has a slick cinematography which I think is always present in a Viva movie. Glossy, taken from a painted postcard album.
Being an actor and a filmmaker at the same time helps a lot in cultivating a movie. Garcia can also deliver the goods.
Imortal was just a rehash of Elwood Perez' Bilangin ng Bituin Sa Langit.
Post by: Noel_Vera on Feb 04, 2005 at 06:43 AM
Post by: rse on Feb 08, 2005 at 04:13 AM
I bought a VCD of this movie. Stella Strada is so hot. I haven’t seen any of her movies. Are there any other titles out there with her?
The movie has a look and structure of a Celso Ad Castillo but I don't think he directed this one.
It's pretty tame for a “bold” movie. No graphic sex or full frontal nudity, mostly just glimpses of Stella Estrada's perfect mammary glands. Is this version cut?
Post by: Noel_Vera on Feb 14, 2005 at 11:16 AM
Post by: RMN on Feb 21, 2005 at 02:14 PM
Ex-solon, 6 other suspected kidnappers presented to media
Posted 12:23pm (Mla time) Feb 21, 2005
By Joel Francis Guinto
INQ7.net
FORMER congressman and actor Dennis Roldan, arrested for alleged kidnapping, was presented to media in Camp Crame on Monday.
Roldan was wearing an orange shirt worn by detainees of the National Anti-Kidnapping Task Force (NAKTF), black shorts, and black sandals.
Six of Roldan's alleged accomplices were also presented. They were arrested last Sunday for the alleged kidnapping of a three-year-old son of a wealthy Chinese-Filipino family in Pasig City.
Interior Secretary Angelo Reyes said Roldan allegedly “organized” the kidnapping.
Post by: Noel_Vera on Feb 21, 2005 at 02:41 PM
Post by: RMN on Feb 21, 2005 at 04:23 PM
Post by: Noel_Vera on Feb 22, 2005 at 06:15 AM
Post by: oggsmoggs on Feb 22, 2005 at 08:04 AM
So what are the better films of 2004 that I should see? Sigaw?
Here's my list Noel,
Evolution of a Filipino Family - Lav Diaz
Minsan Pa - Jeffrey Jeturian
Imelda - Ramona Diaz
Pa-Siyam - Erik Matti
Sigaw - Yam Laranas (pretty much deficient but I guess it passes in my standards)
Post by: indie boi on Feb 22, 2005 at 08:49 AM
Post by: Noel_Vera on Feb 22, 2005 at 12:15 PM
Post by: RMN on Feb 24, 2005 at 01:13 PM
Post by: Noel_Vera on Feb 24, 2005 at 01:56 PM
Post by: Noel_Vera on Mar 03, 2005 at 02:06 PM
The book launching will be at the 18th Singapore International Film Festival. Filmmaker Lav Diaz will be there.
Here's a link to an excerpt (an article on Tikoy Aguiluz's "Segurista" (Dead Sure, 1996)):
http://journals.aol.com/noelbotevera/MyJournal/entries/686
The book will be available online. I'll post links as soon as they are available.
Post by: commentary on Mar 04, 2005 at 12:19 PM
I was able to catch a circa 1980's documentary on Philippine cinema by Tony Rayns which he did for a British tv network. The said docu had a feature on Gerardo de Leon as well as interviews with Manuel Conde, Bernal, Brocka, Marilou Diaz, Hammi Sotto and Doy del Mundo who stood in for Mike de Leon. It was fairly interesting, despite the picture quality and it's short length.
Where did you catch that RMN and how might I see it?
Post by: commentary on Mar 04, 2005 at 12:21 PM
It's a compilation of my articles, from 1994 to 2004, and it's coming out in April, to be printed by the Singapore-based Big O Magazine.
The book launching will be at the 18th Singapore International Film Festival. Filmmaker Lav Diaz will be there.
Here's a link to an excerpt (an article on Tikoy Aguiluz's "Segurista" (Dead Sure, 1996)):
http://journals.aol.com/noelbotevera/MyJournal/entries/686
The book will be available online. I'll post links as soon as they are available.
sounds tres cool. and long overdue. congrats.
Post by: Noel_Vera on Mar 04, 2005 at 12:46 PM
Post by: RMN on Mar 04, 2005 at 01:07 PM
Where did you catch that RMN and how might I see it?
At the NCCA. Ask Teddy Co! :)
Post by: RMN on Mar 04, 2005 at 01:12 PM
Post by: Noel_Vera on Mar 04, 2005 at 01:27 PM
Post by: keating on Mar 04, 2005 at 01:31 PM
Post by: Noel_Vera on Mar 04, 2005 at 01:34 PM
Post by: RMN on Mar 04, 2005 at 01:38 PM
Post by: keating on Mar 04, 2005 at 01:41 PM
Someone mentioned something round here--it's been delayed.
Thanks, man.
it's been long overdue for this box-set. And cool also if MIke will discuss it thru documentaries with his cast. :D
Post by: llanesmark777 on Mar 08, 2005 at 08:09 PM
Speaking of Mike de Leon, caught up Kung Mangarap Ka't Magising last Friday during Cinema Paraiso Film Fest at NCCA in Intramuros.
hey we saw that together right?! :)
Post by: RMN on Mar 23, 2005 at 09:04 PM
Speaking of the digital revolution, Unitel Pictures International (through Unico Entertainment) has put up www.cine.filipino.com.
The website will offer to online shoppers not only Unitel's prize-winning titles ("Crying Ladies," "Magnifico" and "Imelda"), but also Sampaguita Films classics and the master works of Lino Brocka, Ishmael Bernal and Mario O'Hara, among others.
Likewise, Gloria announced at the forum: "After long negotiations with Mother Lily Monteverde, we were able to acquire some titles from Regal's impressive catalogue of contemporary film classics. We will restore and subtitle these movies and make them available in the Internet."
DVD distribution is the new ballgame, according to Gloria. "Online retail is one way to beat film pirates in their own game."
The Regal Platinum Series will come in three waves.
The first wave includes "Relasyon" by Ishmael Bernal, "Makiusap sa Diyos" by Lino Brocka, and "Babae sa Bintana” by Chito Roño. The second wave consists of "Laro sa Baga" by Roño, "Hahamakin Lahat" by Brocka, and "Makati Avenue: Office Girls" by Jose Javier Reyes. The Third Wave features "Manila by Night (City After Dark)" by Bernal; "Ina, Kapatid, Anak" by Brocka and "The Fatima Buen Story" by Mario O'Hara.
Also in the lineup are Brocka's "Cain at Abel" and Marilou Diaz-Abaya's "Karnal."
Tony Gloria is d man!!!
Post by: indie boi on Mar 23, 2005 at 10:26 PM
Post by: keating on Mar 24, 2005 at 12:05 PM
BROKEN MARRIAGE also? ???
But good catch really if they can remaster Bernal's CITY AFTER DARK.
Thanks RMN for the info. :)
Post by: RMN on Apr 04, 2005 at 03:24 PM
Post by: indie boi on Apr 04, 2005 at 06:09 PM
For this years Cannes Film Festival, participating countries will not only be sending a delegation to France, but also films that they feel best represent the film industry from their home country. You won't believe the list of Filipino movies that they've drawn up. Shocking. :o
I'd love to see the list. RMN can you post it as well as the people involved in choosing the films? Hopefully, they won't include Wooly Booly, hehehe.
Post by: keating on Apr 04, 2005 at 09:20 PM
So we will now able to see Bernal's uncut version of MANILA BY NIGHT restored that was smuggled back in 1980 and shown in Berlin Film festival? ???
Post by: Noel_Vera on Apr 05, 2005 at 02:48 PM
I'd like to see that list, RMN.
Post by: keating on Apr 05, 2005 at 07:47 PM
Far as I remember Manila By Night has a perfectly good print.
I'd like to see that list, RMN.
I sat through MANILA BY NIGHT, Noel back when Mowelfund Film Institute paid a tribute to the late and brilliant Ishma and he was seated just two seats apart from me before he died on that fateful year......man......and the opening credits are beginning to deteriorate and was not complete but over all aspects the film has still very good print.
Before the screening he made an introduction that this was mutilated heavily and censored during the Marcos Regime, a narration was added during Aquino's term and hopefully in Arroyo's term we can now see it uncut finally on dvd.
Post by: indie boi on Apr 14, 2005 at 03:17 PM
Post by: Noel_Vera on Apr 14, 2005 at 04:17 PM
Would anyone know who directed Julian Makabayan? I can't remember who it is.
The great Celso Ad. Castillo.
Post by: indie boi on Apr 14, 2005 at 06:02 PM
Post by: keating on Apr 14, 2005 at 09:58 PM
The great Celso Ad. Castillo.
I'm dying to see Celso Ad Castillo's PATAYIN MO SA SINDAK SI BARBARA especially now that Susan Roces is in the news again........ ::)
but seriously speaking I want to watch it at night with of course the lights are off......
Post by: Noel_Vera on Apr 15, 2005 at 02:17 PM
Post by: keating on Apr 15, 2005 at 02:24 PM
Post by: keating on Apr 15, 2005 at 02:28 PM
Mind you, Celso's Patayin is silly and doesn't make sense...but it was the one Filipino horror film that came closest to actually scaring me.
that's why I want to see it man. Too bad the availability of this film is very hard to find..... :(
Post by: Noel_Vera on Apr 15, 2005 at 04:09 PM
Much better than Chito Rono's remake, Noel? GUMISING KA MARUJA is another one on my wish lists.
Like night and day, the difference.
The Maruja remake would be funny, if it wasn't so boring.
Post by: keating on Apr 15, 2005 at 09:12 PM
Like night and day, the difference.
The Maruja remake would be funny, if it wasn't so boring.
yeah....they always make bland remake. This is the main problem of our filmmakers, they can't match the grittyness of the original.
Post by: Noel_Vera on Apr 16, 2005 at 05:26 AM
How to order (http://www.bigo.com.sg/theshop/books/NVcritic.html)
Post by: keating on Apr 16, 2005 at 05:19 PM
CRITIC AFTER DARK: A REVIEW OF PHILIPPINE CINEMA is now available in Singapore
How to order (http://www.bigo.com.sg/theshop/books/NVcritic.html)
Nice cover art, congrats Noel on your new endeavor!
Your book will be a great help to us since books on Philippine cinema is very scarce. BTW is your article about the late Ishmael Bernal included there?
I liked that article......man. :D
Post by: Noel_Vera on Apr 17, 2005 at 02:01 PM
Nice cover art, congrats Noel on your new endeavor!
BTW is your article about the late Ishmael Bernal included there?
Yeah, it is. Thanks!
Post by: keating on Apr 17, 2005 at 02:07 PM
Yeah, it is. Thanks!
I'll buy it man once it hit the bookstores here.
Congrats again!
Long live Filipino classic movies!
Post by: Noel_Vera on Apr 17, 2005 at 03:09 PM
I'll buy it man once it hit the bookstores here.
I don't know when that's coming out--maybe next year--and it'll practically be a different book. Somewhat different articles, some different writing, different way the pieces are organized altogether.
Post by: renato on Apr 17, 2005 at 07:04 PM
CRITIC AFTER DARK: A REVIEW OF PHILIPPINE CINEMA is now available in SingaporeVery nice. :)
How to order (http://www.bigo.com.sg/theshop/books/NVcritic.html)
Post by: Noel_Vera on Apr 18, 2005 at 10:32 AM
Post by: wedge on Apr 18, 2005 at 01:21 PM
Post by: RMN on Apr 18, 2005 at 01:25 PM
Post by: keating on Apr 18, 2005 at 01:49 PM
i had the rare privilege of viewing clips from two filipino films that have hitherto been considered lost: the first darna produced and directed by fernando po sr. and a costume drama by gerry de leon. both works have been stored in an archive in bangkok, thailand.
SOFIA should rescue these two films if not get the masterprint of these two rare lost masterpieces of Philippine cinema.
Post by: RMN on Apr 19, 2005 at 01:25 PM
SOFIA should rescue these two films if not get the masterprint of these two rare lost masterpieces of Philippine cinema.
Not to worry. These two films, on 16mm, are in good shape and hands and will surely be brought home.
Post by: Noel_Vera on Apr 19, 2005 at 01:31 PM
Post by: keating on Apr 19, 2005 at 07:19 PM
Not to worry. These two films, on 16mm, are in good shape and hands and will surely be brought home.
That's great man......... :)
Post by: RMN on Apr 20, 2005 at 07:00 PM
Which costumed drama by Gerry de Leon?
The title escapes me but it has banga in the title. If you look at it, you'd think it was by Manuel Conde.
Post by: Noel_Vera on Apr 20, 2005 at 11:50 PM
Post by: RMN on Apr 21, 2005 at 04:50 PM
UP Film Institute marks 2nd anniversary with restored version of “Ibong
Adarna”
The UP Film Institute celebrates its second anniversary with the
premiere of the restored version of LVN Pictures’ 1941 classic, “Ibong Adarna” on
Thursday, 28 April 2005, at 6 p.m.
Post by: oggsmoggs on May 03, 2005 at 08:19 AM
http://www.sensesofcinema.com/contents/directors/05/de_leon.html
Post by: Noel_Vera on May 03, 2005 at 04:08 AM
But it's a good piece on those films, even if it does leave out Blood of the Vampires (http://www.netflix.com/MovieDisplay?movieid=60025101&trkid=6243) (Okay, correction--he calls it Creatures of Evil. But the film's original title is supposed to be Dugo ng Vampira, not Ibulong Mo Sa Hangin, which is a different film. Unless imdb is wrong, which wouldn't be the first time). And I thought the one most significant contribution De Leon makes to Moreau lore with Terror is a Man is the suggestion, however subtle, that the creature is capable of love, and of acts of kindness. That wasn't in Welles' book.
Post by: Noel_Vera on May 07, 2005 at 01:24 AM
But--I'm hoping to interest the publishers in another project.
And the book is still available for ordering here:
http://www.bigomagazine.com/theshop/books/NVcritic.html
Post by: RMN on May 07, 2005 at 03:22 PM
Posted 07:51am (Mla time) May 07, 2005
By Marinel Cruz
Inquirer News Service
Editor's Note: Published on page A4 of the May 7, 2005 issue of the Philippine Daily Inquirer
CHARACTER actor Romy Diaz, who was diagnosed with tongue cancer in 2004, was declared brain dead at the National Kidney Institute on Tuesday afternoon.
His daughter-in-law said he had choked on a piece of meat.
According to Frida Diaz, the 64-year-old actor—among the late Fernando Poe Jr.'s "favorite" onscreen tormentors—is still hooked to a life support system.
Romy, last seen in the film "Bertud ng Putik" (2003),was to have been discharged from the hospital that day, Frida told the Inquirer in a phone interview yesterday. He had been confined since January, and was being fed through a tube at the time.
"But he still insisted on having soup once in a while," Frida said. On Tuesday, a piece of meat in the soup lodged in his throat. "The doctor took it out with a suction machine."
Except for his brain, Romy's heart and other vital organs are still functioning, according to his oncologist, Leo Marbella.
Romy's brother, character actor Paquito, also suffered a stroke in October and underwent surgery to remove a blood clot in the brain. Paquito has been confined at the Asian Hospital in Muntinlupa for three months now.
Post by: Noel_Vera on May 07, 2005 at 06:39 PM
Post by: Noel_Vera on May 07, 2005 at 07:22 PM
Post by: keating on May 08, 2005 at 12:31 PM
Lav Diaz has spotted copies on display at the Datelines Bookshop and Old Pop--two great arthouses at the Marikina Shoe Expo in Cubao, Quezon City.
Limited only in stocks Noel, on those bookshops? Will it be available on Powerbooks also? ??? :)
Post by: Noel_Vera on May 09, 2005 at 12:54 AM
I wish!
I say: go to Cubao while you can. It's the new IT place, a burgeoning center for arts and culture, according to Lav and Tino Tejeros (correction: Tejeros says Marikina and not its shoe expo is the new center for arts). And while you're there, there's a hole-in-the-wall Italian restaurant with terrible service and fantastic food that might make your visit worthwhile...
Post by: rse on May 09, 2005 at 06:06 AM
Post by: Noel_Vera on May 09, 2005 at 07:06 AM
Post by: keating on May 09, 2005 at 05:33 PM
Powerbooks?
I wish!
I say: go to Cubao while you can. It's the new IT place, a burgeoning center for arts and culture, according to Lav and Tino Tejeros. And while you're there, there's a hole-in-the-wall Italian restaurant with terrible service and fantastic food that might make your visit worthwhile...
I'll go there Noel, this week. I do hope there are still stocks of your book in that bookshop. BTW is that bookshop part of Gateway Mall?
And besides Go Nuts has opened their outlet there. ;D
Post by: RMN on May 10, 2005 at 05:53 PM
and whilst your there, why not drop-by Bellini's, an Italian resto; Vintage Pop, a store selling cool retro items; Black Soup Project, a photo gallery cum wine shop that currently has on display pics by filmmakers; and the other new establishments in the area under the banner of Cubao X.
Post by: Noel_Vera on May 14, 2005 at 04:26 PM
Post by: oggsmoggs on May 15, 2005 at 05:24 PM
Ang Lagusan - Gina Marissa Tagasa
I've been very excited for the burgeoning Filipino independent film industry, that I would always find myself watching almost every movie that comes out from the movement blindly. The latest that I've seen is Gina Marissa Tagasa's Ang Lagusan (The Tunnel). The film is about Joel (Cris Villanueva), a seaman who find himself in a docked cargo ship, with only a bag full of clothes, a photograph of a young girl, a one hundred peso bill, an address written on the other side of a note, and a child's prayer. Joel doesn't remember anything though, thus, he finds himself in Lagusan Street, the address provided in the note, and there he meets a handful of characters including Ason, his abortionist mother, Noni, the neighborhood drug pusher, Kado, the directionless youth, and a mysterious stranger who seems to have a knack for riddles and semi-prophecies. I learned that Tagasa is a scriptwriter for television soap operas and her roots are very evident in the film. Her directorial decisions mostly lead to a very television-like approach to every scenes - the blockings are uncinematic, the musical cues are all too heavy and predictable, even the acting is reminiscent of the television lauded style of acting which mostly includes a fistful of bawling and a tiny drop of actual inspiration. As I've said, I had no knowledge of the film or its director when I came in to watch. I had high hopes since the poster advertises that the producers have made a previous film which won accolades in international film festivals. The film begins, quite promisingly - infusing right amounts of low budget campiness, film-noirish mystery, and Filipino-style allusions. As characters are introduces and the mysteries are slowly unraveling, the film gets unnervingly preachy - that type of preachiness that is offputting because it tries so hard to be subtle but comes off as shamelessly obvious. In the end, we are entreated to scenes of humanly impossible metanoia, an explanation of the film's parable-like thematics, a dose of over-the-top acting and worse, a rather uninspired music video of a Christian song. There are scenes in the film revolving around some Korean evangelists giving out food rations to any of the impoverished citizens of Lagusan who would spend time to listen to their bible teachings. After the end credits rolled, I felt so shortchanged that I did not receive any food rations from the director and the producers of the film who shamelessly fed me with all these preachy religious stuff I was not in the mood for. I felt so shortchanged by having to pay well-earned money to watch this cheap reenactment of how faith can save you, that I thought about robbing a bank, burning down the mall, and slaughtering innocent bystanders. Pardon my histrionics, but the film did more good than bad, I believe. 1/2/*****
Post by: RMN on May 25, 2005 at 12:25 PM
Post by: Noel_Vera on May 25, 2005 at 12:49 PM
Mrs. Pilar Ortiz Brocka, Lino's mom, just passed away at the age of 94. She was laid to rest last Monday.
I remember meeting her, in UP Film Center I think. She was on a wheelchair. That's all I remember, unfortunately--I don't remember talking to her (I think I said something and she just stared at me), and I never got a sense of what she was like.
Judging from the son, tho, she must have been an amazing woman...
Post by: RMN on May 26, 2005 at 04:51 PM
When I bought one for a friend last Saturday in Cubao, there were only two copies left. The lady I spoke to said that it has been flying off the shelves ever since Lav Diaz brought over copies.
While I don't agree with you 100% (hence my hesistation to get a copy), I must say congrats just the same.
Post by: keating on May 26, 2005 at 09:54 PM
But I saw there the mourning and eulogy of Marilou after the loss of Ishmael Bernal who told her back in 1987 that she can't do it........very depressing, quiet film.
The final scene.......what was that? MILAGROS had to go to Mt. Banahaw to meet her spiritual fate? ???
The film ask questions that have no definite answers in females points of view.
Post by: Noel_Vera on May 26, 2005 at 10:12 PM
Wow, Noel, your book is selling like bibingkas back here.
When I bought one for a friend last Saturday in Cubao, there were only two copies left. The lady I spoke to sisd that it has been flying of the shelves ever since Lav Diaz brought over copies.
While I don't agree with you 100% (hence my hesistation to get a copy), I must say congrats just the same.
Holy freak--I better tell Philip to ship over more copies.
Post by: Noel_Vera on May 31, 2005 at 11:59 AM
parisstpatrick: Laurice Guillen, to me, is more of a miss than a hit. "Tanging Yaman" is overrated and so is "Ipagpatawad Mo". Yuck!
Her best work is "Salome". Hanep sa husay. Akala ko, ganoong klase ang gagawing mga trabaho ni Laurice, iyon pala puro pang-komiks. Yuck!
Guillen isn't consistent, but she's done first-rate work (go see Kasal, or Init sa Magdamag). Which is more than I can say about some of the directors listed here.
parisstpatrick: Napanood ko naman ang "Kasal" (i.e. sakal?). Mediocre or average lang siya. It is not a cinematic gem like "Salome" kaya puwede mo nang ibaon sa limot. Siguro, it is always a question of taste.
Para sa akin, wala namang nagawang mahusay na pelikula si Guillen maliban sa "Salome". Puro pang-komiks ang pelikula niya. Kulang sa lalim, hindi ka na mag-iisip pa. Pero suwerte ang hitad pagdating sa award. Kahit ang mga pelikula niya are all bordering between mediocre and average, nananalo ng award. "Ipagpatawad Mo" is one very lousy film that raked awards. Gusto mo tuloy i-question kung gaano kataas (or kababa) ang standard ng mga jurors sa 'Pinas. Pero paano mo iki-question ang credibility and standard ng award-giving bodies sa 'Pinas gayong alam naman natin na ang irregularities and anomalies are rampant (a la Comelec, hehehe) sa mga award-award na ito that almost all award giving bodies stink so badly.
Guillen, to me, is not even inconsistent. She is consistently bad. All her films, except "Salome", are lousy.
Surely you jest. It's in the genre of marriage movies like Savoca's True Love, and its characterization is subtler than most Filipino movies--than most Hollywood movies, actually, thanks to a script by Mario O'Hara. You should watch it again.
I still haven't heard from you regarding Init sa Magdamag.
Ipagpatawad Mo--agreed, she's done many clunkers; I don't really count best director trophies, or trophies of any kind (politics lang lahat yan). But I think a filmmaker can do bad work, can do mostly bad work, can be doing mostly bad work recently, and if she has done one worthwhile film, I can't call her bad. A filmmaker that can do Init, Kasal, and Salome I can't call bad at all--Brocka should have that kind of understanding of female sexuality.
You're probably thinking of some other woman filmmaker, with no feeling for eroticism or sensuality in any of her films. ;D
Post by: jdv1229 on Jun 03, 2005 at 07:07 AM
Init also boasts of Lorna Tolentino's best performance ever. even better than Maging Akin Ka Lamang and Narito Ang Puso Ko. a solid script by Raquel Villavicencio and moody cinematography by Romy Vitug. i loved the opening scene, remember it Noel?
Post by: Noel_Vera on Jun 03, 2005 at 11:52 AM
This lack of Guillen love seems new to me. Is it because she's gotten so much power? It wasn't always so--for the longest time she was on sabbatical.
Guillen is inconsistent. She's turned in terrible work--that Taal Volcano flick with Gelli de Belen, for one. But when you do even one good, maybe great film, you've done that film; it's yours, on your filmography, period, no matter how many crappy movies you've made since.
Post by: keating on Jun 03, 2005 at 12:58 PM
Post by: rse on Jun 04, 2005 at 09:30 PM
You're probably thinking of some other woman filmmaker, with no feeling for eroticism or sensuality in any of her films. ;D
Agree. I also dislike that other filmmaker especially her more recent works. They are overblown melodramas. Technically they’re good (because the films are well funded by big producers) but that’s about it.
My first introduction to her movie was her comeback film, Ika-11 utos: Mahalin Mo, Asawa Mo. Prior to that I’ve heard/read a lot about her and that she’s supposed to be really good feminist director (Brutal was always mentioned in the articles). I was so devastated after watching that movie. It was like the funniest horror movie that I’ve ever seen. Still I made a mistake of watching her films mostly because the trailers were good and there were a lot of buzz about them (Muro-ami and Jose Rizal) but more often than not I always went home disappointed. Her movies sucked and to make matter worse they were terribly long and overlong. A total waste of time!
Her older movies fare a lot better. Moral for example is a great film. One of the best Filipino films that I’ve seen: Funny, Bernal-eque.
I haven’t seen her Karnal and Brutal so I can’t comment on them. Another two movies of her that I liked are May Nagmamahal sa Iyo and Sa Pusod ng Dagat (again very derivative of Bernal’s Nunal sa Tubig). Her Ipaglaban mo: The Movie is at least watchable.
But I’ve stupidly bought a VCD copy of her Alyas Baby Tsina. I almost burned it after watching it. It’s one of those movies that wouldn’t have been great but was completely ruined in the end. It’s a Bulaklak Sa City Jail wannabe.
I actually have Noon at Ngayon... Pagsasamang Kayganda (Moral 2?) on DVD for more than two years now and I still haven’t made myself to finish watching it.
Post by: keating on Jun 05, 2005 at 08:35 AM
KARNAL has a great narrative, period movie which has some elements of superstition. The great Vic Silayan and Charito Solis are here! Its been shown once in a while on Cinema One.
Totally agree with Marilou Diaz Abaya's recent works.....overblown melodramas. I think she should go back making feminist movies wherein she's good always.
MORAL is outstanding piece of work! Deserves to be rank among the great films of the 2nd Golden Age of Philippine Cinema.
Post by: Noel_Vera on Jun 05, 2005 at 10:48 AM
Karnal I'm not fond of. Feel it's a Kisapmata rethread, down to Vic Silayan playing yet another rapacious father. Plus towards the end it starts to become unintentionally funny.
Brutal despite some felicities, has weaknesses. For one, the early rape sequences don't resonate, or have much sexuality to them (I know the old line--rape is all about power--but check out the rape scenes in Straw Dogs, A Day in the Countryside, and Last Tango in Paris, and Init sa Magdamag among others and tell me they don't have any sexuality to them). Another thing is that Charo Santos' story is more interesting, or seems livelier than Amy Austria's--seems to me she who we will not name has trouble relating to the lower classes than to the middle class. Otherwise, yep--it's a pretty good Ricky Lee film. ;D
Post by: bad_movie on Jun 05, 2005 at 03:10 PM
walang pagunlad kung ang isip ng lahat ay pagpapayaman sa sarili.
Post by: Noel_Vera on Jun 11, 2005 at 04:44 PM
Supply reportedly ran low in Datelines Bookshop in Cubao, only two copies left as of last week ('selling like bibingkas (hot rice cakes)' is how someone put it); don't know about Old Pop (also in Cubao). Seventeen more copies are on their way.
Meantime, I'm expecting twenty copies (yes--twenty!) to be available soon at the Cultural Center of the Philippines' bookshop, in time for the Cinemalaya Filmfest on July 12 to 17.
Post by: indie boi on Jun 11, 2005 at 05:56 PM
Moral is one of her best. There are those that argue, I'm not necessarily one of them, that the auteur in both Moral and Brutal isn't she of whom we do not speak, but Ricky Lee. His sensibilities are so strong any lesser filmmaker--or relatively new one--can be dominated. It takes a Brocak or Bernal to keep him in his place.
Karnal I'm not fond of. Feel it's a Kisapmata rethread, down to Vic Silayan playing yet another rapacious father. Plus towards the end it starts to become unintentionally funny.
Brutal despite some felicities, has weaknesses. For one, the early rape sequences don't resonate, or have much sexuality to them (I know the old line--rape is all about power--but check out the rape scenes in Straw Dogs, A Day in the Countryside, and Last Tango in Paris, and Init sa Magdamag among others and tell me they don't have any sexuality to them). Another thing is that Charo Santos' story is more interesting, or seems livelier than Amy Austria's--seems to me she who we will not name has trouble relating to the lower classes than to the middle class. Otherwise, yep--it's a pretty good Ricky Lee film. ;D
Noel, you do present a very intriguing point regarding the Abaya-Lee dynamics. I loved Brutal, Moral and even Karnal. I considered Abaya a great director based on those three films and thought that Sensual (which I thought was a very antiseptic erotic movie) was just her stumbling after making these cool films.
I eagerly awaited her return to Philippine Cinema when the old vanguards died -- only to be extremely disappointed by the very confused Sa Pusod ng Dagat, which was exacerbated by Rizal. After that, I never watched an Abaya film again.
And now you've posited an explanation that I may have loved Ricky Lee films all along. Great insight. :)
Post by: Noel_Vera on Jun 11, 2005 at 06:47 PM
You love Karnal? Seen it lately?
I'm thinking Brocka's politicization (Jaguar, Bayan Ko, Orapronobis)may have been hugely flavored by Pete Lacaba as well (he practically is the auteur of de Leon's Sister Stella L). Those are two of the strongest pair of voices in Philippine cinema, I think, writerwise.
Post by: indie boi on Jun 11, 2005 at 09:00 PM
Thanks! ;D
You love Karnal? Seen it lately?
I'm thinking Brocka's politicization (Jaguar, Bayan Ko, Orapronobis)may have been hugely flavored by Pete Lacaba as well (he practically is the auteur of de Leon's Sister Stella L). Those are two of the strongest pair of voices in Philippine cinema, I think, writerwise.
Haven't seen Karnal in a while. Actually, I liked Karnal because, aside from Itim, we never really had a film with a strong gothic flavor. I do remember this old period film (I think it was in the 50s) about a man whose life was tied to a rose he gave to a woman he kept in his palace but until now I haven't met a person who remembers that movie much less its title.
You're right, Brocka's most overtly political films were written by Lacaba. Tinimbang Ka Ngunit Kulang comes close but it's more of a social commentary.
Post by: wedge on Jun 12, 2005 at 03:46 AM
Post by: Noel_Vera on Jun 12, 2005 at 08:55 AM
Actually, I liked Karnal because, aside from Itim, we never really had a film with a strong gothic flavor.
Well...The Fatima Buen Story (which I much prefer to Karnal); the "Bukas Madilim, Bukas" segment of Tatlo Dalawa Isa; Gumising Ka Maruja (which is a seriously flawed film, but which I still prefer over Karnal); and Kisapmata has no overtly supernatural elements but it feels like a Gothic film--like a better version of The Shining, actually (which I do like, but prefer de Leon's). Oh wow, and Gerry de Leon's El Filibusterismo. Pancho Magalona's Simoun is a magnificent villain.
Quote
You're right, Brocka's most overtly political films were written by Lacaba. Tinimbang Ka Ngunit Kulang comes close but it's more of a social commentary.
That's why I much prefer the earlier films. They operated on so many levels--political, social, poetic, personal. And the morality of the characters was more complex, not so clear-cut--I mean, in Lacaba's films, they tend to be drawn across class lines.
Post by: indie boi on Jun 12, 2005 at 09:12 AM
Lacaba's characters are so clearly delineated morally and yup, class lines are always significant in his works. It could be because of Lacaba's very strong activist background. What I love about his scripts though is the dialogue -- it never feels stilted, every line sounds natural.
Noel, what's your opinion on the late Amado Lacuesta?
Post by: Noel_Vera on Jun 12, 2005 at 09:37 AM
God, I don't know if I can watch a Kris Aquino movie even if O'Hara directed it, hehe.
Think of Max Ophuls' Lola Montes, with a non-actress in the leading role, and a wonderful film surrounding her. Every supporting role in that film is terrific, from an excellent Gina Pareno and John Regala to an even better Janice de Belen. Even Zoren Legaspi is very good in this.
I'd also throw in Celso Ad. Castillo's Patayin sa Sindak si Barbara, and (even better, but no one'll agree with me on this) Lihim ni Madonna.
Lacaba's dialogue is very fine, one of the best. And his storytelling is par none. There is little fat in his scripts, they're very tight, with excellent structure. He could write for Howard Hawks.
Amado Lacuesta is a different flavor entirely. I like his humor, and his appreciation of women. His best works are probably Working Girls and Hinugot sa Langit.
I hear his son does good work, but I haven't been able it read any of it, dammit (wink, wink).
Post by: Noel_Vera on Jun 13, 2005 at 02:57 PM
I've said plenty about Filipino films. I don't understand why this hasn't been moved to the other folder. Lemme follow up with the mods about that.
Of Filipino fantasy, favorites would include Brocka's Gumising Ka Maruja, Celso's Patayin sa Sindak si Barbara, Bernal's Prigider, Mario O'Hara's Halimaw sa Banga, Dolphy's Omeng Satanasya, and Gerry de Leon's Blood of the Vampires and Caridad porton of Fe, Esperanza, Caridad.
Great fantasy would include Gerry de Leon's Sanda Wong and Sawa sa Lumang Simboryo, and O'Hara's Pangarap ng Puso.
Good to great science fiction would include de Leon's Terror is a Man, Mike de Leon's Aliwan Paradise segment of Southern Winds, and Lav Diaz's Hesus Rebolusyunaryo.
Post by: keating on Jun 13, 2005 at 05:40 PM
I've heard that the first Darna movie which was found in Thailand was actually excised and not the complete one? How could it be? My friend who taped the Eyewitness program on channel 7 said it.
Even Nick de Ocampo and the other people who just came from Thailand was quite disappointed. They brought the vhs tape of the movie not the masterprint.
Post by: Noel_Vera on Jun 14, 2005 at 05:24 AM
Post by: jdv1229 on Jun 14, 2005 at 10:54 AM
How about the first Dyesebel & Darna movies, Noel? Both created by the late Mars Ravelo.
I've heard that the first Darna movie which was found in Thailand was actually excised and not the complete one? How could it be? My friend who taped the Eyewitness program on channel 7 said it.
Even Nick de Ocampo and the other people who just came from Thailand was quite disappointed. They brought the vhs tape of the movie not the masterprint.
from what i heard the only existing print of Rosa del Rosario's Darna is owned by her grandaughter and it was up for sale last year for a cool 1 million pesos... i wonder if there were any takers. most Darna fans are looking for a copy in any format mind you of Lipad, Darna, Lipad! the trilogy produced by Sine Filipino and directed by Elwood Perez, Joey Gosiengfiao & Emmanuel H. Borlaza.
Post by: keating on Jun 14, 2005 at 08:21 PM
I don't know how it was found in Thailand, I have to borrow the tape (Eyewitness) first from my friend.
Since we are talking of fantasy flicks, Jo, what's the title of the Ariel Ureta movie wherein he was being chase by a vampire......very surreal...very weird also like Elektrika.
Post by: RMN on Jun 14, 2005 at 09:54 PM
Post by: jdv1229 on Jun 15, 2005 at 12:17 PM
Jojo the Darna vs. Babaing Tuod was the one that was found in Thailand restored and preserved through the years. I believe this is the Rosa del Rosario flick.
I don't know how it was found in Thailand, I have to borrow the tape (Eyewitness) first from my friend.
Since we are talking of fantasy flicks, Jo, what's the title of the Ariel Ureta movie wherein he was being chase by a vampire......very surreal...very weird also like Elektrika.
i think Darna at ang Babaing Tuod was the sequel to the original with Rosa del Rosario. the Ariel Ureta movie where he is being chased by a vampire played by Orestes Ojeda was Si Popeye Atbp. also produced by Sine Filipino. it was the follow up to Zoom, Zoom Superman!
Post by: Noel_Vera on Jun 15, 2005 at 12:51 PM
Post by: keating on Jun 15, 2005 at 09:07 PM
See....our filmmakers still have the original vision. Thanks again for the info, Jo.
Post by: Noel_Vera on Jul 09, 2005 at 12:36 AM
CRITIC AFTER DARK: A REVIEW OF PHILIPPINE CINEMA now available at Datelines Bookstore, Cubao (http://www.bigomagazine.com/theshop/books/NVcritic.html)
Post by: keating on Jul 09, 2005 at 10:56 AM
Filipinos should also be blame for. They never learned.
MY colleagues and I came to see MAGNIFICO on its 3rd day run at Sm CInema and we were surprised that it was already pulled out on its 3rd day while the likes of Terminator 3 had extended run for 3 weeks!
Now I'm betting that PINOY BLONDE will only last for one week because of the current situation now....if it extend beyond one week there's a reason to celebrate for!
Count censorshiop and piracy......let's just cremate PHILIPPINE CINEMA tagal ng nakaburol, Noel.
Post by: Noel_Vera on Jul 09, 2005 at 12:47 PM
Post by: keating on Jul 09, 2005 at 12:55 PM
But the problem are the audience, they never troop to watch Filipino movies. So how can we survive?
Thank God the old ones are still here.....O'Hara, Gallaga, Guillen, Rono, the vanguards still show vitality against all odds.....Lav Diaz, Jeturian.
Post by: Noel_Vera on Jul 09, 2005 at 01:30 PM
Quote
how can we survive?
I made some suggestions earlier, about government regulating Hollywood movies to choke em back a little, or at least let the local industry ride piggyback on their success.
This is what the French do. Their movies don't suck much, either. ;D
Post by: keating on Jul 09, 2005 at 01:38 PM
Imagine less traffic on Edsa during weekdays and even on weekends because there is no Hollywood movie showing on cinemas. ;D
So France regulates the less import of Hollywood movies? ???
Post by: Noel_Vera on Jul 09, 2005 at 04:20 PM
I think it makes sense. Get Mel Gibson to help pay for Mario O'Hara. The hack pay for the artist.
Post by: commentary on Jul 09, 2005 at 07:04 PM
agree with noel on the point about taxing foreign products. didn't know that was what france used to fund french filmmaking. that's wonderful.
Post by: Noel_Vera on Jul 10, 2005 at 12:48 AM
...the Centre National de la Cinematographie (CNC), a fifty-year old organization which finances cinema, television and multimedia production and distribution. CNC also helps in international co-production between France and 42 countries. Funding for CNC comes in the form of contributions from the theater, television and video market sectors in France that is then redistributed to the nation’s audiovisual industry.
I gather that's a significant support, and that there are others, not necessarily taxes. Complicated system, but not unworkable.
Post by: Noel_Vera on Jul 10, 2005 at 12:52 AM
Post by: keating on Jul 10, 2005 at 09:01 AM
France has a brilliant idea, Noel.
Post by: commentary on Jul 10, 2005 at 12:27 PM
As for filmmakers: whoever wants to do good work will do good work, no matter what happens; O'Hara did five films in seven years, all of which cost well under ten million (except maybe Sindak), Lav Diaz did some of his most ambitious projects in the same period of time, and Khavn de La Cruz and many other independents are working. So it isn't as if Filipino filmmakers--the ones that count, anyway--are sitting on their butts doing nothing.
oh i agree wholeheartedly about the work of those guys, and that we have a number of independent-minded filmmakers, but if we're talking about Philippine Cinema as a whole, and the decline in 'quality' of our films (aside from quantity), i think i'd also look at some of the filmmakers who willingly compromise, in addition to, of course, local producers and hollywood.
i'd be the first to say that philippine cinema is vibrant and interesting right now.
Post by: Noel_Vera on Jul 10, 2005 at 11:06 PM
And who try but have no talent at all... ;D
Post by: Noel_Vera on Jul 15, 2005 at 09:52 AM
Post by: jdv1229 on Jul 16, 2005 at 08:32 AM
http://movies.groups.yahoo.com/group/Pelicula
Keating Commentary, Indie Boi, RMN & Noel, i'm expecting you guys to join the group... it would be fun discussing Filipino films with all of you! of course everyone is invited to join.
Post by: Noel_Vera on Jul 16, 2005 at 08:51 AM
Post by: oggsmoggs on Jul 16, 2005 at 09:47 AM
Post by: keating on Jul 16, 2005 at 01:46 PM
Post by: jdv1229 on Jul 17, 2005 at 06:31 AM
Hi there Jojo! Yup, I'll join better not to waste my time and effort to some movies like FANTASTIC CRAP. ;D
thanks Keating! we'll be having great discussion on Filipino films.
Post by: jdv1229 on Jul 17, 2005 at 06:32 AM
I joined...
i'm glad you did!
Post by: jdv1229 on Jul 17, 2005 at 06:34 AM
pasali rin ako, i've been lurking the filipino films threads but couldn't contribute much since my knowledge on filipino films is quite limited...
thanks for joining oggs... in less than month's time you'll be able to contribute a lot about Filipino films in all the threads, that's a promise! :)
Post by: indie boi on Jul 17, 2005 at 12:32 PM
Post by: jdv1229 on Jul 17, 2005 at 07:19 PM
Just read this. I'll definitely be joining. Thanks Jojo!
i'll be expecting you then... thanks indie boi!
Post by: jerix on Jul 18, 2005 at 09:58 AM
Now people are already exposed to the high tech movies of hollywood and even from asian countries. But seemingly our improvement in terms of technology and style has just moved a little that even my five years old kid knows that the flying of Angel Locsin in Darna or the fight scenes are highly unrealistic and unbelievable. ::)
Post by: indie boi on Jul 18, 2005 at 10:06 AM
Just look at Bong Revilla's Tales of Enchanted Kingdom (could someone please tell them this title reeks). The senator boasts that they've spent millions on the effects and make-up alone. But that would be a waste of money if everything else is ignored for the sake of eyecandy.
Post by: jerix on Jul 18, 2005 at 10:53 AM
Speaking also of substance, its so sad that even koreanovelas are robbing us right in our very eyes. The way i see it, we are over putting intrigues and controversies in the story or most often we are over creating people with abnormal personalities in the story that are normally unbelievable in normal life.
Post by: voj on Jul 18, 2005 at 11:36 AM
Speaking also of substance, its so sad that even koreanovelas are robbing us right in our very eyes. The way i see it, we are over putting intrigues and controversies in the story or most often we are over creating people with abnormal personalities in the story that are normally unbelievable in normal life.
Ha? Sorry, I didn't quite get what you're saying.
Speaking of Korean Telenovelas, I observed that their stories mirror our old movies - the likes of Luis Gonzales-Gloria Romero-Lolita Rodriguez, or the Eddie Rodriguez-Marlene Dauden-Lolita Rodriguez love triangles of the sixties. They just lenghtened it, updated it, added more subplots to come up with a 20 episode mini-series.
If this is the thing they stole from us, I beg to disagree. Sadly, we abandoned this genre in favor of more Hollywood type romance, they just picked it up and molded it on their own.
As an aside, a Filipino ex-pat friend worked in Korea for seven years (let's say most of the 90's) and their TV is full of telenovelas from morning to around 6pm. Their variety shows ala Eat Bulaga does not come in the morning but early at night, from around 6pm.
Example of a 60's movie plot I vaguely remember and tell me if it's not something you'll see at a typical korean telenovela.
Luis Gonzales met an accident and needed an operation to save his eyesight. He had a falling out with his girlfriend Gloria Romero because of the evil scheming of Luis's mother and siblings. Gloria begged the family to let her see him and take care of him in his time of need. The family agreed on the condition that Gloria will not speak and introduce herself to Luis, that she will just be represented as a live in nurse needed for the situation.
Luis is still mad at Gloria, and in his darkness vents out his anger to the delight of the family because it is done in front of Gloria, unknowingly, of course.
The day came that the doctor had to remove the bandage on his eyes. The family asked Gloria to leave before that happens. When the bandaged were removed, Luis is blind, the operation was unsuccessful. Upon learning this, Gloria again begged the family for her to take care of Luis in the same capacity.
Luis continues his angry outburst against Gloria, Gloria suffers silently, and the family rejoices over her misfortunes.
Then suddenly Luis made it known to everybody that the operation was really successful and he is just faking it to confirm for himself what he suspect all along. And Luis and Gloria lived happily ever after. ;D
I apologize if the plot as I remember it is not entirely accurate. But does that sound something you'll see in a Korean Telenovela? It's sad that we abandoned that genre.
Post by: Noel_Vera on Jul 18, 2005 at 12:41 PM
Post by: voj on Jul 18, 2005 at 12:45 PM
I'd say the popularity of Korean telenovelas goes to show that people don't watch exclusively for SFX and explosions...
I agree. same goes with torrid kisses and show of skins. Most if not all telenovela exhibit 60's sentimentalities ala Sylvia La Torre "no touch". ;D
Post by: jerix on Jul 18, 2005 at 01:26 PM
Ha? Sorry, I didn't quite get what you're saying.
Speaking of Korean Telenovelas, I observed that their stories mirror our old movies - the likes of Luis Gonzales-Gloria Romero-Lolita Rodriguez, or the Eddie Rodriguez-Marlene Dauden-Lolita Rodriguez love triangles of the sixties. They just lenghtened it, updated it, added more subplots to come up with a 20 episode mini-series.
If this is the thing they stole from us, I beg to disagree. Sadly, we abandoned this genre in favor of more Hollywood type romance, they just picked it up and molded it on their own.
As an aside, a Filipino ex-pat friend worked in Korea for seven years (let's say most of the 90's) and their TV is full of telenovelas from morning to around 6pm. Their variety shows ala Eat Bulaga does not come in the morning but early at night, from around 6pm.
Example of a 60's movie plot I vaguely remember and tell me if it's not something you'll see at a typical korean telenovela.
Luis Gonzales met an accident and needed an operation to save his eyesight. He had a falling out with his girlfriend Gloria Romero because of the evil scheming of Luis's mother and siblings. Gloria begged the family to let her see him and take care of him in his time of need. The family agreed on the condition that Gloria will not speak and introduce herself to Luis, that she will just be represented as a live in nurse needed for the situation.
Luis is still mad at Gloria, and in his darkness vents out his anger to the delight of the family because it is done in front of Gloria, unknowingly, of course.
The day came that the doctor had to remove the bandage on his eyes. The family asked Gloria to leave before that happens. When the bandaged were removed, Luis is blind, the operation was unsuccessful. Upon learning this, Gloria again begged the family for her to take care of Luis in the same capacity.
Luis continues his angry outburst against Gloria, Gloria suffers silently, and the family rejoices over her misfortunes.
Then suddenly Luis made it known to everybody that the operation was really successful and he is just faking it to confirm for himself what he suspect all along. And Luis and Gloria lived happily ever after. ;D
I apologize if the plot as I remember it is not entirely accurate. But does that sound something you'll see in a Korean Telenovela? It's sad that we abandoned that genre.
Hi voj, what i meant actually when i said "Koreanovelas are robbing us" is that Koreanovelas are attracting more televiewers than our local telenovelas. If these koreanovelas are the reflection of our stories in the 60's then it is my view that pinoy movie or telenovela writers should somehow go back, reflect and be inspired by said stories. ;)
Many Pinoys can aptly relate with the koreanovelas because like the character of luis Gonzales or Marlene Dauden during those times, it is still the mirror of their life and personal experiences. ;)
Post by: RMN on Jul 28, 2005 at 10:10 AM
And whatever happened to it
on its way to the cinema?
Stv's Celebrity Chronicle
December 1999
Los Angeles * San Bernardino * Riverside * San Diego *
San Francisco * Las Vegas * Chicago * New York * Manila
Cover Story
By: Celso Ad Castillo
Director Peque Gallaga considers him the greatest Filipino director of his generation. Probably the most versatile actor-director in Philipine cinema, Celso Ad. Castillo, also known by his nickname Celso Kid, has directed more than 50 films to date, winning 6 Best Director Awards along the way together with 2 Best Screenplay awards, 1 Best Story award, and 1 Best Supporting Award.
His film has been considered trendsetters and trailblazers of the Philippine cinema. His films have aspired towards thematic originality that range from small town perversion, incest, political and period gangsterism, family conflicts, politics of domination action and even comedy. In addition, they have seen participation in international competitions such as the Venice Film Festival, and the Cannes Film Festival. He is in pre-production on "Prosti", his first team up with the only superstar of Philippine movies, Ms. Nora Aunor and also negotiations to direct his first American film.
What went wrong with the Philippine movies and why?
It is overtaxed. It is heavily censored. However, when the censors became lenient, it became pornographic.
Why again?
It is inferior in quality. It has no value for excellence. Its vision is only confined fnr regional consumption. It seems it has no point of direction.It is unmindful of the changes that are sweeping the map of the world.
Competition is too tight for small markets like Luzon, Visayas and Mindanao when the new world order has the entire universe for the taking. Man, the vision is too narrow. It has a wrong concept for being beautiful
than being creative. Producers are dictated by bookers and theatrical owners as to what kind of movies to be done to get hack their investments. Moreover, art being the last thing to cross their minds their intuition suggests that big stars are the safest investments. Not art. Not creativity. Just big stars.Just pure baloney,
They have been putting out the same kind of crap or tested formulas, which had been commercialized and accepted, and warned out by the passage of time. In addition, they think it is still effective. And since the superstars are the demigods then naturally they become the moving force, come hell or high water, by the Philippine movie industry. The producers became the blind slaves and the moviegoing public their victims for mediocrity. Alas, we have a film industry that has been identified by international film distributors as 99% bad.The director's salary, the writer's and the scriptwriter's compared to gargantuan fees of the super-stars are like a poor man's diet to a glutton. The stars aside from 3-5 million-peso fees, courtesy of suckers producers and bookers, also gets ancillary rights of the film. Ancillary rights cover P2.5 million for TV rights, 300 grand for cable TV and another 300 grand for video rights. Now do you wonder why they can afford to finance a political campaign? The writers? The minimum they get is 40 thousand and the maximum is 130 thousand. The directors? I have not heard of anyone who had been paid a cool million yet. Now they blame the writers why they cannot come up with a sensible story material for a movie.
The film begins with the story. These writers need a break. They need to he inspired to be creative. They deserve a decent lifestyle like that of the stars. The producers still underestimate the intellect of the present crop of moviegoers where in fact they have outgrown the film industry itself. The cable and video technology has created a new breed of sophisticated Filipino movie audiences. The industry seems to ignore that reality. Since the producer's vision is not global, the industry is forever enslaved by shoestring budgets. The director's creativity has become inutile, no space to flex its grey matter. Little pains, small gains.
What is right with the Philippine movie industry?
It produces effective politicians. Second, the Philippines being westernized(and colonized by Hollywood after the Spaniards) are the only race in Asia adoptive to the American way of filmmaking. We have the gut feel, the instinct, and the spontaneity to reflect the American filmic psyche into our movies. Unlike the rest of Asia which had been influenced by Indian and Chinese movies (Malaysia, Indonesia, Thailand) and. French (Cambodia, Vietnam), the Filipinos' early staple of films were hollywoodian types from film maestros like Elias Kazan, John Ford, Henry Hathaway, Howard Hawks, John Sturgess, Vincente Minnelli, Frank Capra, Alfred Hitchcock, etc.
What is the root cause of the industry's problems?
When there is no creative freedom from a filmmaker from doing what he wants, then there is a big problem in the industry. Why? Because the film begins and ends with the director. He is the industry. The actor's medium is the stage; the director is the film. The producer? They are financiers. It all started with the big four major studios during the 50's like LVN, Premiere, Sampaguita and Lebran. They were followed by the so-called independent studios which later became majors too; Tagalog llang-Ilang Productions, Larry Santiago Productions, Magna-East, Bulaklak Pictures, Mundial Productions, etc. These independent producers produced superstars which became producers themselves; FPJ Productions (Fernando Foe Jr.), JE (Joseph Estrada), Rosas Productions (Susan Roces), AM Productions (Amalia Fuentes), Sotang Bastos (Chiquito), RVQ (Dolphy), etc. The directors were left behind. Movies' quality remained stagnant. The creator was always behind the created. it was always the song and not the singer. What needs to be done? Individually, by each member of the industry? As a team? Go global. Be serious with this art. Be professional. Be ambitious, loyal and dedicated. Filipino directors have reached the point where they no longer have any more reason to complain. We must make movies not for the Philippines alone but for the international community. They say Japanese movies are dead, and the French and the Germans, when in fact it is not. It simply suggests that Japanese, Germans, French, Italians, Filipinos and the rest of the global citizens must be making movies not for their own respective countries but for communities of the entire world. American films have become the barometer and the measure of international standard by the international film communities. What are the aspects and/or practices in the Philippine movie industry that need to be corrected? Enhanced or improved? Encouraged? The booking system. Local movies are only given one week for first-run theatrical exhibition in Metro Manila area theatrical circuits. If one is talking about a 50 million peso investment in a local film then you are talking about goliath for a foe. One week is not enough, or say even 2 or 3 weeks, to recoup an investment for a local film that has been fashioned for international dressing.
Two million bucks is spent to promote a movie, which is intended only for the first day crowd. The first day crowd takes over through word-of-mouth publicity. This film is on its own on the second day, which means it dies when it is not good. Now, this does not apply to major producers. They have resources to pull the trick on the first day showing to attract crowds. What about the independents? They will only rely on the word-of-mouth stunt the
film may be generating. However, by the time it is picking up on its first week the movie is meeting its deadline in the theatres.
What can artists do, to help save the industry?
Be serious and professional with their jobs so the others, the next generation, may emulate the kind of discipline needed to elevate this industry to a higher level of artisanship in the Philippines.
What can moviegoers do to help save the industry?
Nobody can force anyone to eat food that he abhors. Movies remain to be the cheapest form of entertainment. People see movies to be entertained, to be informed, to escape from reality and see the reflection of himself. Give them good movies to save the industry.
However, nature is taking its course. The art of film is being perfected by destiny. Video technology has fathered a new generation of moviegoers through videotapes, the lasers, digital, and the likes. Through videotapes, easily accessible like donuts and burgers and available for random viewership by the entire household, moviegoers have learned to draw boundaries between a good film to a bad one. It is constant viewing that elevates
man's level of comprehension on the aesthetics of film. Eventually, the demands for better films will force the industry to save its neck.
What laws/actions/sanctions are needed to help the industry?
To limit the influx of foreign films by sanctions is to limit the scope of growth of Filipinos as world-class artisans. We need to learn from other experiences. The new world order is globalization. Limiting our visions is depleting the air of our extreme creative tolerance. Pushing back enemy line is only an excuse for becoming inferior tacticians.
We need to cut down taxes. The tax rebate incentives are only tantamount to giving candies to crying children. What we need is support for serious, professional, legitimate filmmakers. They make the movies not the producers or the superstars. The directors command filmmaking as a science of continuing experimentations, i.e., Federico Fellini of Italy, Satyajit Ray of India, Werner Herzog and Fassbinder of Germany, Ingmar Bergmanof Sweden, Luis Bunuel of Spain, Kurosawa of Japan...
Directors need a film foundation that will finance their creativily and give them responsibilities to become producers themselves, You arm the warriorswhen they go to war and nol the emperors who just do commands,
What is the idea of a good Filipino film?
Not necessarily a cultural film. That is the common, flawed, and in fact, worst perception. History is a thing of the past.
What good is a film when it is not seen?
The purpose of a film is to communicate and communication is impossible if the other party is disinterested. "Romeo and Juliet" of Franco Zeffirelli was great but was no box-office draw. Ditto with Gerard Depardieu's "Cyrano De Bergerac."
A good Filipino film must be at par, technically, with foreign films. Color processing and sound quality are priorities here. Filipino films must convey human emotions regardless of race or creed. The world audience does not care about Filipinos in the Philippines bQt they do care about how Filipinos as human beings react and confront real-life, down-to-earth, natural element catharsis. People ask me all the time if I believe that critical acclaim and commercial success can ever be achieved at the same time in one film.
Yes, " Burlesk Queen " did it starring Vilma Santos during the 1977 Metro Manila Film Festival where
it garnered 10 out of 11 awards and outgrossed all participating film entries. It shattered the myth in Philippine movies that good movies do not make money. In addition, commercially accepted movies do not get awards. It has become a symbol of a beautiful marriage between commercialism and artistry.
What can be done to help the film industry achieve recognition in the international market?
Pull the best artistic minds in town and organize a panel, which will decide what films, deemed the best for the year, should go to festivals abroad. Actually, they are doing it here already. However, the screening committee is composed of the best connected ones and not the best artistic
minds.
What about Hollywood 2000? Is it possible for local films to beat Hollywood movies in their own game?
Hollywood by the year 2000 is all chips and cyberspace, digitals and virtual realities. There will no longer be tapes and disks but minute computer chips which when hook, wherever you are, will get magnified on your wall-size HDTV (high definition television). The best of foreign
films will be merged along with mainstream Hollywood cinematic fares. Consider the latest "conquistadores" of American movies; John Woo, Jacky Chan, Tsui Hark, Wong Kar Wai, etc. Consider the great films that have been integrated such as The Red Lantern, Scent of Green Papaya, Shall We Dance, Fallen Angels, etc.
There is no reason to beat Hollywood in the next century. We shall by then be a part of Hollywood because the only reason we think otherwise is because we let our minds defeat our visions.
Post by: Noel_Vera on Jul 29, 2005 at 05:39 AM
1) I don't believe limiting Hollywood movies will limit the Filipino filmmaker's vision (limiting his diet of less mainstream foreign films might); I've mentioned before that both India and France limit their intake of Hollywood and they're one of the few cinemas genuinely thriving.
2) Japanese cinema's anime is thriving; the live-action features are doing okay, but it's a shadow of its thriving industry in the '50s.
3) It may be a matter of terminology, but I don't think "integration with Hollywood" is an answer. Some kind of uneasy truce, sprouting from a space created in cracks in Hollywood's hold on world cinema, might be the more feasible answer. I mean, John Woo has more or less integrated with Hollywood--has it improved his filmmaking?
Post by: keating on Jul 29, 2005 at 12:39 PM
Post by: RMN on Aug 02, 2005 at 09:54 AM
Post by: edsa77 on Aug 02, 2005 at 03:27 PM
Post by: indie boi on Aug 04, 2005 at 09:22 AM
Viewfinder : Why some new filmmakers’ movies don’t quite work
By Nestor Torre
I’VE written a lot about the good films and positive results of last month’s Cinemalaya indie film festival. Today, let’s focus on the efforts that didn’t quite make the grade in terms of quality and pertinence, hopefully to come up with lessons that will benefit other new filmmakers who will be trying their luck at next year’s festival:
To my mind, four of the nine full-length movies that were produced for the film fest suffered from problems that prevented them from ending up as creditable productions. Some of their storyline and scripts had been promising (I judged all levels of the competition), so it was disappointing to see them failing to realize their full potential.
What were some of the inhibiting or distracting factors that negated their promise? First, lack of directorial organization, visualization and editing sense.
Some people are simply better scriptwriters than directors. They can’t fully vivify the good points in their scripts so that they are fully realized, not just on paper, but on the big screen.
As directors, they should know which scenes to highlight, and which to play briskly, or even eliminate for the purpose of clearer storytelling. They should also remind themselves to avoid repetition, or saying pretty much the same thing in different ways.
This repetitiveness results in yet another common problem: excessive length. Some new filmmakers think it’s OK to shoot a movie that is almost two and a half hours long. They forget that many feature films these days run for only 90 minutes.
As directors, they shouldn’t fall in love with their material so much that they keep hitting their audience on the head with it. Suggestion and intimation are better than relentless iteration.
To make better movies, self-absorbed filmmakers should remind themselves that they’re at the service of their audience, not themselves. So, brevity, clarity, accessibility and empathy are the cinematic virtues they should do their darndest to acquire.
Also, avoid long, languid, artistic and symbolic sequences that are more poetry than cinema. New directors should stress the importance of editing to energize their work, and ruthlessly cut out footage that, while truly lovely, impedes the dynamic progression of the stories they tell.
They should also have a keener sense of the requisites of feature filmmaking. While indie movies don’t require star value, you should at least choose for your leads unknowns who don’t turn your audience off.
Don’t cast people just because they’re your friends, or are readily available to you. Cast as the role requires, period.
Finally, new filmmakers should realize that, when they get to the full-length mode, they can no longer play around and entertain themselves with their private notions and conceits. Feature-length filmmaking is cinema at its most public and rigorous, and heretofore dilettante artists have a lot of growing up to do.
Post by: Noel_Vera on Aug 04, 2005 at 02:27 PM
Post by: edsa77 on Aug 07, 2005 at 08:53 PM
If Lav Diaz followed every bit of Torre's advice he'd be another Joey Reyes.
LAV DIAZ SAYS..
Ang pinakamalaking kasalanan ng Inquirer sa lahat ay pinayagan nitong magsalita ang isang kolumnista tungkol sa independent cinema na hindi naman nito naiintindihan at wala itong authority para magsalita tungkol dito. Ano ba ang pelikulang nagawa niya? Naghihiganti siya dahil pinagtawanan 'yung pelikula niyang ginawa noon. Sabi niya hindi magagawa ang "Kriminal ng Barrio Concepcion" in twenty years after manalo ito sa scriptwriting contest. The next year,naging pelikula siya. Ngayon, ang nakakalungkot, siya ang nagdidikta sa mga bata ng kung ano ang indie cinema dahil lagi siyang nababasa. May power siyang ikontrol ang utak ng mga tao tungkol sa kultura. May power siyang sabihin na dapat hindi lagpas ng dalawang oras ang pelikula mo.
Nakakatawa.
Post by: Noel_Vera on Aug 08, 2005 at 01:35 PM
Post by: keating on Aug 10, 2005 at 01:40 PM
Isah Red's article "Who Killed the Tagalog Movies?" and my reply (http://journals.aol.com/noelbotevera/MyJournal/entries/818)
CRITIC AFTER DARK: A REVIEW OF PHILIPPINE CINEMA now available at Datelines Bookstore, Cubao (http://www.bigomagazine.com/theshop/books/NVcritic.html)
Noel, your book is still selling like hotcakes at Dateline Bookstore. I'll grab one after payday this month and pls sign it when you come home. :D
Congrats man! When can I expect Volume 2? ;D about our own filmmakers?
Post by: Noel_Vera on Aug 10, 2005 at 01:45 PM
Post by: Quitacet on Aug 10, 2005 at 02:16 PM
Example of a 60's movie plot I vaguely remember and tell me if it's not something you'll see at a typical korean telenovela.
Luis Gonzales met an accident and needed an operation to save his eyesight. He had a falling out with his girlfriend Gloria Romero because of the evil scheming of Luis's mother and siblings. Gloria begged the family to let her see him and take care of him in his time of need. The family agreed on the condition that Gloria will not speak and introduce herself to Luis, that she will just be represented as a live in nurse needed for the situation.
Luis is still mad at Gloria, and in his darkness vents out his anger to the delight of the family because it is done in front of Gloria, unknowingly, of course.
The day came that the doctor had to remove the bandage on his eyes. The family asked Gloria to leave before that happens. When the bandaged were removed, Luis is blind, the operation was unsuccessful. Upon learning this, Gloria again begged the family for her to take care of Luis in the same capacity.
Luis continues his angry outburst against Gloria, Gloria suffers silently, and the family rejoices over her misfortunes.
Then suddenly Luis made it known to everybody that the operation was really successful and he is just faking it to confirm for himself what he suspect all along. And Luis and Gloria lived happily ever after. ;D
I apologize if the plot as I remember it is not entirely accurate. But does that sound something you'll see in a Korean Telenovela? It's sad that we abandoned that genre.
voj,
Maybe you're referring to the movie "Bulung-bulungan". If you are, then it's the late Nida Blanca who co-starred with Luis Gonzales in this movie.
The story is exactly like what you posted but I remember it with Luis being deaf not blind. Luis, later in the end, proved that Nida didn't cheat on her when his hearing returned and that's when they lived happily ever after. And I remember this movie because of it's theme song of the same title. The song goes like this:
'Wag kang manalig sa bulung-bulungan
Na ikaw giliw ay pinagtaksilan
'Pagkat maraming naiinggit lamang
Sa ating labis na pagmamahalan
Kung nais mo na mapatunayan
Na ang pag-ibig ko'y tunay at dalisay
Dibdib ko giliw ay buksan mong tuluyan
At doon ay malasin ang pagsintang tunay.
Di mo batid ang tunay kong damdamin
Giliw, ikaw lamang ang iibigin
Kahit libong dusa ay hahamakin
Kung ikaw ang magdudulot, ay ligaya sa akin.
Unless you're referring to a different movie with the same plot ::)
Post by: RMN on Oct 05, 2005 at 03:52 PM
Irma Adlawan, Paolo Rodriguez and Mario O'Hara in Tanghalang Pilipino's production of The Whore from Ohio, which runs from October 7 to 23, 2005.
Post by: Noel_Vera on Oct 06, 2005 at 01:26 PM
I'd love to see this, but I can't; someone make kuwento!
Post by: jdv1229 on Oct 11, 2005 at 06:49 PM
Post by: keating on Oct 11, 2005 at 06:53 PM
Post by: jdv1229 on Oct 11, 2005 at 07:32 PM
Post by: keating on Oct 11, 2005 at 07:44 PM
it was made in the 80's... another film i bought was Kidlat Tahimik's Perfumed Nightmare. i actually carried two big boxes of old films from the video store and i took them all back with me here to the East Coast hehehe...
Cool. :)
Post by: Noel_Vera on Oct 19, 2005 at 03:32 AM
Post by: Noel_Vera on Oct 24, 2005 at 10:53 PM
Post by: RMN on Oct 26, 2005 at 05:32 PM
The ballads of Boyet
First posted 09:03pm (Mla time) Oct 25, 2005
By Bayani San Diego
Inquirer News Service
Editor's Note: Published on Page A2-1 of the October 26, 2005 issue of the Philippine Daily Inquirer
NOW IS THE RIGHT time,” says Christopher “Boyet” de Leon of his newest endeavor, a collection of “classic” theme songs from his past movies.
The CD also celebrates his 30th anniversary in show biz, since making a debut in and winning a Famas Best Actor for Lino Brocka’s “Tinimbang Ka Ngunit Kulang.”
Although he is more known as a Drama King, music is in his blood—dad Gil de Leon and mom Lilia Dizon, as well as sisters Pinky and Lara Melissa, are all singers.
Moreover, his earliest training was in musical theater.
“For my first play, ‘Godspell,’ Peta (Philippine Educational Theater Association) required me to take voice lessons,” Boyet recalls. “I played Jesus in that play. Later on, I co-starred with Juno Henares in ‘They’re Playing Our Song.’ ”
He headlined concerts with the rest of the Bad Bananas, Edgar Mortiz, Johnny Delgado and the late Jay Ilagan.
He also sang in 1970s movies like “Tisoy” and “Kung Mangarap Ka’t Magising.”
“In ‘Kung Mangarap,’
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I played a songwriter,” he recounts. “In ‘Kakaba Kaba Ka Ba?’ I was a band leader. In ‘Tinimbang ang Langit,’ I played a composer in love with Kuh Ledesma.”
For “Tinimbang ang Langit,” Boyet was included in the movie’s soundtrack. “I also guested in the soundtracks of my movies with Sharon Cuneta [“Bituing Walang Ningning”] and Regine Velasquez [“Pangarap Ko Ang Ibigin Ka”]. I even did a long-playing album with [ex-wife] Nora Aunor in 1975 [“In Love,” under Vicor]. But I’ve never done a solo album.”
As early as four years ago, the actor was already toying with the idea of recording a solo album.
Album producer Eloisa Matias recalls: “Last year, Boyet paid for the studio time of the first three songs he recorded—‘Sisikat Din Ako’ [from “Kakaba”], ‘Hanggan’ [from “Dekada ’70”] and ‘Sana’y Ikaw na Nga’ [from the movie of the same title, with Vina Morales].”
He didn’t assume that just because he’s a big star, recording companies would be falling all over themselves to sign him up. Just like any aspiring singer, he cut a demo which was sent to at least three major labels.
“Two hours after we had submitted the demo tape, Eugene Villaluz and Baby Gil of Viva were on the phone,” Eloisa says. “They wanted to produce his album.”
Soon enough, Boyet inked a three-album deal with Viva Records. “The movie theme songs will have a Book One and Book Two. The third album will consist of inspirational songs,” the actor says.
He also had the chance to try out the CD’s concept on a recent visit to the US for a series of concerts.
“The audience enjoyed themselves,” Boyet says. “While singing the old theme songs, excerpts from the films were flashed onscreen. It was as if they were reminiscing with me.”
In a lot of ways, he considers the CD, to be released in December, “a dream come true.”
He singles out “Bituing Walang Ningning” as the most challenging.
“It’s hard to sing,” he explains. “I think only real singers can give it justice. My hats off to Mega [Sharon Cuneta] because she’s the original.”
Sharon says the late filmmaker Lino Brocka once compared Boyet’s voice to Sammy Davis Jr.’s—brimming with soul and emotion.
“You’ll hear it in this album,” Eloisa says. “In one song, there’s a Bono vibe. In another, Martin Nievera because Boyet is basically a balladeer. Very dramatic.”
His being an actor is his main strength as a singer, says Eloisa. “The way he delivers the lyrics. The way he stresses each word. He’s a perfectionist.”
Post by: acyl_halide on Nov 08, 2005 at 11:33 AM
Post by: Noel_Vera on Nov 08, 2005 at 02:12 PM
Post by: RMN on Nov 19, 2005 at 12:46 PM
(http://img.photobucket.com/albums/v60/tribble/NOVEMBER%202005/ZAMBO1.jpg)
(http://img.photobucket.com/albums/v60/tribble/NOVEMBER%202005/ZAMBO3.jpg)
(http://img.photobucket.com/albums/v60/tribble/NOVEMBER%202005/ZAMBO6.jpg)
Zamboanga (http://cgi.ebay.com/Vintage-1937-Movie-Poster-Zamboanga-Philippines-Poe_W0QQitemZ7564600222QQcategoryZ2319QQssPageNameZWDVWQQrdZ1QQcmdZViewItem)
Post by: keating on Nov 19, 2005 at 12:57 PM
Post by: ralfy on Nov 21, 2005 at 03:43 AM
Post by: Noel_Vera on Nov 22, 2005 at 01:59 PM
SM installs digital projectors (http://news.inq7.net/entertainment/index.php?index=1&story_id=57321)
Post by: keating on Nov 25, 2005 at 09:06 AM
Marilou Diaz Abaya's classic and best film MORAL will be shown tonite 9:30 at the F Filmfest at the Shang Cinema.
Post by: d4nu65+3R on Dec 05, 2005 at 09:09 PM
ate guy's super gee
ate vi's lipad darna lipad
ariel ureta's zoom zoom superman (or is it zoom superman zoom?)
trixia gomez' elektra kasi eh
Post by: jdv1229 on Dec 06, 2005 at 07:24 AM
as for Lipad, Darna, Lipad! & Zoom, Zoom, Superman, both films were produced by Sine Pilipino as far as i know Douglas Quijano was one of the producers. i'm not sure whether he has copies of these films. even Elwood Perez who directed one of the Darna episodes doesn't have a copy. Elektrika was produced by Lyra Ventures... there must be a copy somewhere, right Keating? ;)
Post by: keating on Dec 06, 2005 at 08:34 AM
Yeah I want to see those rare films again.......mind you in 5.1 DD. :D
Post by: d4nu65+3R on Dec 06, 2005 at 09:17 PM
remember zoom zoom superman had orestes ojeda as a leprechaun or was it an alien.
while lipad darna had gloria romero as the manananggal, liza lorena as the babaeng lawin and the one and only celia rodriguez as valentina. cant believe i still remember those.
also coming back now, ate vi's phantom lady and angelica where she played ghost, distinctly remember seeing it in avenue. also loved nora in wonderland which we saw in dalisay theatre in avenida...
Post by: keating on Dec 09, 2005 at 05:58 PM
That Hollywood film was pure crap and trash.
Post by: d4nu65+3R on Dec 15, 2005 at 07:32 PM
Post by: keating on Dec 15, 2005 at 07:47 PM
And remember those big eyes of Odette and the sequence wherein Montilla went inside the church and let one of the zombies do the sign of the cross? Very creepy indeed! :o
Post by: d4nu65+3R on Dec 15, 2005 at 08:10 PM
Man, you made me laugh! LOL! That was Odette Khan, Odette Quesada was not yet a singer during those times. ;D
And remember those big eyes of Odette and the sequence wherein Montilla went inside the church and let one of the zombies do the sign of the cross? Very creepy indeed! :o
hehe...did not notice that one slip, yeah i meant odette khan. wasnt it romeo miranda was in there too? i think he was also a zombie...
Post by: keating on Dec 15, 2005 at 08:30 PM
Its nice to watch this film in full black and white glory. But the print is presumably lost.
Post by: Noel_Vera on Dec 17, 2005 at 03:51 PM
Left a comment on the post myself.
Post by: pinoymovies on Dec 25, 2005 at 03:15 AM
Another Brocka movie coming soon to DVD from www.cinefilipino.com.
About Cine Filipino.
In partnership with Regal Films, Sampaguita Pictures and other renowned studios, cinefilipino brings together what could probably be the definitive collection of Philippine cinema on DVD and VCD. Award-winning Filipino films that have been lauded and enjoyed in the past can now be collected and enjoyed right in the comforts of home.
This collection, and other titles coming soon, gather the works of Philippine cinema masters like Lino Brocka and Ishmael Bernal - classic and contemporary Filipino movies that have left a creative and critical stamp on local cinema.
Each film has been digitally remastered or restored, color corrected, and subtitled. cinefilipino has strived to preserve them in their best possible state so this collection becomes a legacy for all film-loving Filipinos, in this generation and the next.
Sana maging successful ang company na ito. Suportahan sana ng mga Pinoy DVD members. Ako bumili na ako ng Pahiram ng isang Umaga kahit ang karibal ni Ate Guy ang bida don. :) Hopefully they'll do HIMALA soon.
Post by: indie boi on Dec 25, 2005 at 06:13 PM
Post by: wedge on Dec 26, 2005 at 01:57 AM
What films have been released under this "label"?
Check out the site, bro. They have a line-up of films for release, however then most of 'em are still tagged "coming soon".
Post by: pinoymovies on Dec 26, 2005 at 08:36 AM
These are now available
(http://www.cinefilipino.com/dvdcovers/anaffair.jpg)(http://www.cinefilipino.com/dvdcovers/toliveanotherday.jpg)(http://www.cinefilipino.com/dvdcovers/apleatogod.jpg)
Coming soon naman ang mga ito
(http://www.cinefilipino.com/dvdcovers/kainabel.jpg)(http://www.cinefilipino.com/dvdcovers/playingwithfire.jpg)(http://www.cinefilipino.com/dvdcovers/karnal.jpg)
Coming soon from Sampaguita Pictures
(http://www.cinefilipino.com/dvdcovers/hongkong.jpg)(http://www.cinefilipino.com/dvdcovers/iginuhit.jpg)(http://www.cinefilipino.com/dvdcovers/amy.jpg)
Post by: pinoymovies on Dec 26, 2005 at 08:50 AM
btw, Iginuhit ng Tadhana ay story ni Marcos. I vaguely remember this movie being shown sa probinsya namin noong maliit pa ako. Libreng sine sa plaza ng bayan kasi kandidato yata siya noon. May part 2 pa yata ito eh. :)
Post by: keating on Dec 27, 2005 at 06:18 PM
Some thoughts on KARNAL. If you edit the narration of the late Charito Solis, I don't know if the movie can stand on its own. The narration is one of the shining moments in the movie. Add the supernatural elements and great performances by the cast headed by Vic Silayan, Abaya scored another breakthrough in her filmography.
Post by: marj on Dec 28, 2005 at 01:22 AM
Post by: Noel_Vera on Dec 28, 2005 at 02:31 PM
Post by: RMN on Jan 02, 2006 at 10:24 AM
Post by: RMN on Jan 02, 2006 at 03:28 PM
Should I be calling 631-0000 now? ;D
Post by: halvert on Jan 02, 2006 at 08:10 PM
Can someone, anyone, please explain to me why whenever there's an office scene in Filipino movies it almost alwas has to be in a friggin advertising agency with an ongoing storyboard presentation!!? >:(this is so true! parang wala nang ibang trabaho sa pinas kungdi yun! maybe because it's the job most writers are familiar with (naglalagare as copy writers?) or maybe because it's the easiest to show on the screen as a sosi job.
Right away, i can name 3 movies: Bridal shower(all 3 leads work in an agency), blue moon (dennis trillo) and juday will be an ad exec or something in her piolo team up.
Post by: jdv1229 on Jan 02, 2006 at 10:37 PM
Post by: RMN on Jan 03, 2006 at 10:43 AM
Aga also worked in an ad agency in Sana Maulit Muli... i'm not quite sure about this one but didn't Vilma work in the same field in Pahiram Ng Isang Umaga? ( i haven't seen the film in years)
Yes! Other examples:
--Sharon Cuneta in Ngayon at Kailanman (remember the scene where Sharon is giving a presentation and Cherie Gil, the owner of the agency, humiliates her infront of everyone by dissing her concept for a detergent ad and stomping on her storyboard?) Sharon Cuneta in Madrasata
--Maricel Soriano in Separada; she appeared in another film where she plays a creative director of an ad agency.
--Richard Gomez has also played the role an advertising guy; including, I think, Hanggang Kailan Kita Mamahalin with Lorna Tolentino.
--In Diliryo, they were shooting a tvc in the first part.
Ang dami pang iba diyan. But before ad agencies became the office setting of choice, real-estate companies muna. ;D
Post by: oggsmoggs on Jan 03, 2006 at 10:53 AM
Post by: Noel_Vera on Jan 03, 2006 at 12:32 PM
Problem is that scriptwriters don't seem to take the effort to research other jobs; they just take what they know already, which is the ad campaign, the pitch towards corporate sponsors, onset struggles and infighting, etc. One thing you can count from, say Mads Lacuesta is a thorough knowledge of corporate culture (he's not just an award winning scriptwiter but a bank vice president); you saw that in his Working Girls. And Pete Lacaba I know researches exhaustively before writing his scripts. Mario O'Hara too. But they're rarities in an all too homogenized field.
Post by: indie boi on Jan 03, 2006 at 04:23 PM
Oh, so ABS-CBN, which operates the only real film archive in the country, has acquired the film library of LVN Pictures, consisting of some 100 titles. Whilst this is surely a positive development—it would assure that the films will be properly preserved and archived for coming generations to enjoy—the main drawback is that the they will be made available solely on Cinema One, which means that if you’re not hooked-up to Sky/Home Cable or is not a cable subscriber such as myself, then you’re out of luck. One can only wish they could be released fully on DVD; though Mike de Leon has already given out some “test” copies to friends. (but that is another story)
Should I be calling 631-0000 now? ;D
I've been telling my wife that Dos is sitting on a potential gold mine but the powers that be are iffy about releasing DVDs of those classics because of the alleged poor prospects for profit. According to them, there is no strong market in the Philippines for these types of DVD releases. Apparently, these people don't go to PinoyDVD.
Post by: keating on Jan 03, 2006 at 06:17 PM
Post by: oggsmoggs on Jan 03, 2006 at 06:30 PM
http://twistedbyjessicazafra.blogspot.com/
Post by: keating on Jan 03, 2006 at 06:35 PM
Here you go, keating...
http://twistedbyjessicazafra.blogspot.com/
Thanks, oggs.
Finally, I met her three cats. ;D
Post by: renato on Jan 03, 2006 at 07:51 PM
Oh, so ABS-CBN, which operates the only real film archive in the country, has acquired the film library of LVN Pictures, consisting of some 100 titles. Whilst this is surely a positive development—it would assure that the films will be properly preserved and archived for coming generations to enjoy—the main drawback is that the they will be made available solely on Cinema One, which means that if you’re not hooked-up to Sky/Home Cable or is not a cable subscriber such as myself, then you’re out of luck. One can only wish they could be released fully on DVD; though Mike de Leon has already given out some “test” copies to friends. (but that is another story)
Should I be calling 631-0000 now? ;D
Yeah, I saw the widescreen version of Biyaya ng Lupa on Cinema One about a couple of weeks ago. Beautiful print. I hope I get to see Anak Dalita soon.
Also, I've been trying to catch Brocka's Maynila on Cinema One the past year but they never show it anymore. Does it mean that it's gonna be released on DVD soon?
Post by: keating on Jan 04, 2006 at 08:24 AM
Not a big fan of Karnal. I agree that Solis' narration is the best thing in the picture, but the picture itself...eh.
Abaya should go back to feminist movies, KARNAL is still much better than JOSE RIZAL.
Noel, any thoughts on her first feature TANIKALA? Was it classic or a crap?
Post by: Noel_Vera on Jan 04, 2006 at 08:29 AM
Post by: keating on Jan 04, 2006 at 08:34 AM
I don't think she hates it, man. Her husband was supposed to direct it but ended up producing the movie. It was a komiks material during that time written by Pablo S. Gomez.
I'm dying to see it and curious on what movie you are talking about. Maybe SENSUAL or BOYSTOWN?
Post by: Noel_Vera on Jan 04, 2006 at 12:21 PM
Post by: keating on Jan 04, 2006 at 12:30 PM
Post by: RMN on Jan 05, 2006 at 06:04 PM
Post by: tonedeaf on Jan 12, 2006 at 11:41 PM
Can someone, anyone, please explain to me why whenever there's an office scene in Filipino movies it almost alwas has to be in a friggin advertising agency with an ongoing storyboard presentation!!? >:(
FYI, just saw Don't Give Up On Us. Judy Ann plays a big shot in an ad agency and yes, there's a scene with a guy doing a storyboard presentation ;D
Post by: oggsmoggs on Jan 19, 2006 at 10:39 AM
I finally saw Laurice Guillen's hailed film Salome and I must say that I'm pretty impressed with it. Salome is about the titular barrio girl (played with much versatility by a young Gina Alajar) who is married to a domineering man named Macario (Johnny Delgado). The film starts quite wonderfully with a pleasant montage of an early morning in a rural town, with roosters crowing, the bright sun glaring, and the waves steadily blanketing the glistening beach. Then comes Salome, dressed in white stained with red blood, running and screeching for help, finally saying that he has killed a man. The man (Dennis Roldan) is a mining engineer from Manila who finds himself drawn to Salome. Guillen and her screenwriter Ricardo Lee basically unravels Salome's story through a series of flashbacks of the man's murder. Some have claimed that Salome is a Filipino version of Akira Kurosawa's Rashomon and they are probably right as Guillen and Lee follows the same style. Yet while Kurosawa was interested in the multi-faceted aspect of truth, Guillen is more interested in the powerplay of the genders. Guillen's films have been described as feminist in spirit and Salome, while still having the typical Filipino plot movements that mostly involve showing females at their weakest (rape scenes or wife-beating scenes), it presents the central female character as a chameleon of sorts, ready to use, to attack, to even distort the truth, to maintain that de facto seat of power men consciously and mistakenly refer to as a weakness. Yet if such is a weakness, then why do men swoon and go insane with lust like the man from Manila who ends his life during that erstwhile affair. If such is a weakness, then why do men give everything and still beg and plea for repentance as the character of Macario does when societal justice fails to repair the wounds of an already scarred marriage. Salome is not interested with truth, as we can see the courts has settled that for us yet the film does not end where the court has determined Salome's criminal liability. The film is more of an examination of a woman's power to drive men crazy and down to their knees with just a tinge of innocence coupled with the attractive curves of their bodies. The same power that drove the residents of that seaside barrio away from the beach where the mythical mermaids dwell yet incessantly lures the village idiot back to wait for nothing but sure death. ****1/2/*****
Post by: keating on Jan 19, 2006 at 10:52 AM
May I know who designs the god awful posters/tarps of Star Cinema as of late? I'm sure they have some sort of advertising/promotions department there. But who conceptualizes and, more importantly, actually approves them?
Is Vic Delotavo still active in designing movie posters? His artwork are awesome. Classic examples are posters from VIRGIN FOREST, SCORPIO NIGHTS & ALAPAAP.
Post by: X44 on Jan 19, 2006 at 11:55 AM
Problem is that scriptwriters don't seem to take the effort to research other jobs; they just take what they know already, which is the ad campaign, the pitch towards corporate sponsors, onset struggles and infighting, etc.
And they never get the nuances right.
True, Pinoy movies set in ad agencies are lima singko, but I don't think I've seen one that feels like it was written by someone who's actually worked in one.
Post by: Noel_Vera on Jan 19, 2006 at 02:24 PM
Post by: Noel_Vera on Jan 20, 2006 at 08:27 AM
Post by: Itbayat on Jan 22, 2006 at 02:56 PM
Post by: Noel_Vera on Jan 23, 2006 at 01:03 AM
Post by: Noel_Vera on Jan 23, 2006 at 02:44 AM
Post by: pinoymovies on Jan 30, 2006 at 01:21 AM
(http://www.cinefilipino.com/dvdcovers/manilabynight.jpg)(http://www.cinefilipino.com/dvdcovers/kainabel.jpg)(http://www.cinefilipino.com/dvdcovers/mothersisterdaughter.jpg)
(http://www.cinefilipino.com/dvdcovers/playingwithfire.jpg)(http://www.cinefilipino.com/dvdcovers/karnal.jpg)(http://www.cinefilipino.com/dvdcovers/hongkong.jpg)
Source: http://www.cinefilipino.com/default.asp
Post by: pinoymovies on Jan 30, 2006 at 01:27 AM
(http://www.cinefilipino.com/dvdcovers/fatimabuen.jpg)
Post by: jdv1229 on Jan 30, 2006 at 07:14 AM
Post by: Noel_Vera on Jan 31, 2006 at 01:01 PM
Fatima Buen I've mixed feelings about. That's wonderful ensemble acting (Regala unleashed, Legaspi unvarnished, Pareno and de Belen at their best), and great gothic filmmaking, but the lead role...I know it's her best ever, but it's barely adequate. It's like Ophul's Lola Montes.
Post by: keating on Jan 31, 2006 at 01:27 PM
Post by: Noel_Vera on Feb 02, 2006 at 07:36 AM
Quote
Some articles on Rotterdam's Critic After Dark programme (http://journals.aol.com/noelbotevera/MyJournal/entries/973)
CRITIC AFTER DARK: A REVIEW OF PHILIPPINE CINEMA now available at Fully Booked, Powerplant Mall; CCP Bookstore; Datelines Bookstore, Cubao; and Booktopia, Libis, QC (http://www.bigomagazine.com/theshop/books/NVcritic.html)
Post by: rse on Feb 03, 2006 at 12:03 AM
When I was in Manila I was able to catch Blue Moon (Joel Lamangan). The movie has potential but was ruined by Joel Lamangan's execution. Actingwise the guy who played the young Eddie Garcia is nonexistent. There were a few laughable attempt to use CGI.
I also bought a few Filipino DVDs and VCDs, I will post my thoughts on them once I've gone through them.
Post by: Noel_Vera on Feb 03, 2006 at 03:56 PM
Post by: Noel_Vera on Feb 04, 2006 at 11:28 AM
Quote
Some articles on Rotterdam's Critic After Dark programme (http://journals.aol.com/noelbotevera/MyJournal/entries/973)
CRITIC AFTER DARK: A REVIEW OF PHILIPPINE CINEMA now available at Fully Booked, Powerplant Mall; CCP Bookstore; Datelines Bookstore, Cubao; and Booktopia, Libis, QC (http://www.bigomagazine.com/theshop/books/NVcritic.html)
Post by: rse on Feb 04, 2006 at 04:15 PM
When did you buy the book at Datelines? Far as I know, they sent 70 copies to Datelines back during Cinemanila in Manila time...
I bought the book 2nd week of January.
Post by: Noel_Vera on Feb 04, 2006 at 04:24 PM
Post by: RMN on Feb 06, 2006 at 12:31 PM
Post by: Noel_Vera on Feb 07, 2006 at 12:19 PM
Yeah, between Conde and Romero...
Post by: keating on Feb 07, 2006 at 12:23 PM
Post by: Noel_Vera on Feb 10, 2006 at 05:30 AM
Post by: keating on Feb 10, 2006 at 08:06 AM
Post by: Noel_Vera on Feb 10, 2006 at 08:40 AM
Post by: jdv1229 on Feb 12, 2006 at 10:21 AM
Post by: keating on Feb 12, 2006 at 12:35 PM
They produced mostly commercial films during the 70's.
Post by: jdv1229 on Feb 12, 2006 at 12:40 PM
Agrix Films under Sofronio Blando went bankrupt in the early 80's if I'm not mistaken. His daughter, was one of my cousin's closest friends in Provident Village in Marikina City. We don't know what happened na with their family.
They produced mostly commercial films during the 70's.
Sofronio Blando had a cameo appearance in Kung Kaya Mo Kaya Ko Rin as Dindo Fernando's boss.
Post by: keating on Feb 13, 2006 at 12:36 PM
"Mario is one of the best we have around.......and of course, Celso is no longer the kid!"
Post by: keating on Feb 15, 2006 at 12:51 PM
The great master filmmaker Lino Brocka directed two horror tv shows back in the 70's MALIKMATA & ANINO. His foray into the horror genre is the gothic love story GUMISING KA, MARUJA. Penned by Tony Perez who makes a living by hunting ghosts nowadays forming an organization called QUESTORS and also written Brocka's sexiest film, INIT. The result was a mixed up of some narrative flaws with impeccable production design of Mel Chionglo and outstanding cinematography by the late Conrado Baltazar and great haunting musical score by Ernani Cuenco.
The opening scene narrates the story of Maruja Isabel y Mira born 1872 in love with Gabriel a poor peasant but bethrothed by her elders to Rodrigo Velasquez, captain of the civil guard. She was reincarnated in the person of Nina Concepcion, actress & producer (Susan Roces). Most of the scenes take place in an old ancestral mansion house as Roces plans to shoot a film about the life of Maruja despite several warnings that the place was haunted. Her crew started to be missing one by one. Brocka's films are all character driven and he gets always fine performances from his leads particularly Roces when screaming and when she start to be possessed by the ghost of Maruja, Philip Salvador as Marco during the present times and Rodrigo during the past. Add some ensemble fine actors like Mario O'Hara, Laurice Guillen, Manny Ojeda & Mary Walter. The problem with Brocka is he doesn't resort to special effects thus, letting the ancestral mansion house stand by itself and it certainly succeeds! Is it scary, no! But there are a few moments when your spine is chilling just by peeping inside the house. What's missing here are morbid humors that you can find in Hitchcock thrillers but the music will continue to haunt you just like a Bernard Hermann score.
Pinoy horror movies were the main staple during the 70's, some are B-movies, but this one is a cut above the rest. Technically superior that will stand the test of time. I just wish that the master print is still in fine shape, or better remastered so that future generations will still look up to it.
Post by: RMN on Feb 16, 2006 at 01:25 PM
Post by: Noel_Vera on Feb 17, 2006 at 05:56 AM
Post by: jdv1229 on Feb 18, 2006 at 11:08 AM
i remember when i would go the theaters to watch a Lino Brocka film and i always looked forward to seeing not just a movie with a social message but a film that had great acting in it. unfortunately the acting in this movie leaves so much to be desired, aside form Nonie Buencamino, nobody else really stood out. even Gina, Phillip, Bembol & Jaclyn who displayed such brilliance in Brocka movies didn't give the performances expected of them in this film. the film's most moving performance if i could call it one was the archived interview of William Lorenzo at the hospital after the accident. it was probably his best and surpasses even the ones he essayed on screen in the movies he did with Brocka. he was sincere and the emotions were real, it was affecting. nevertheless this movie still deserves to be seen not just by regular moviegoers but Filipino film enthusiasts as well. it saddened me when they asked 20 year olds if they knew who Lino Brocka was and most of them said no, what a pity. i think now is the perfect time for a Lino Brocka Film Retrospective.
Post by: marj on Feb 18, 2006 at 11:09 AM
Post by: keating on Feb 18, 2006 at 02:00 PM
Post by: jdv1229 on Feb 18, 2006 at 11:56 PM
This is the only time that I was re-discovering the gems of the great Lino Brocka. Better late than never!
luckily you have some of his films on video to savor over & over again... ;D
Post by: keating on Feb 19, 2006 at 12:57 PM
luckily you have some of his films on video to savor over & over again... ;D
Yeah, man. I will re-visit MAYNILA SA KUKO NG LIWANAG, INSIANG, BAYAN KO: KAPIT SA PATALIM & PX. :)
Post by: jdv1229 on Feb 19, 2006 at 11:36 PM
Post by: marco_van on Feb 20, 2006 at 11:50 AM
Yeah, man. I will re-visit MAYNILA SA KUKO NG LIWANAG, INSIANG, BAYAN KO: KAPIT SA PATALIM & PX. :)
hi keating, will it be ok if you make me a copy of maynila sa kuko? or upload it to the web for me to see...
and hello to all! it's my first time here, i got into filipino films when i heard that lino brocka's movies were
cannes festival material, now i wanted to see his movies with no luck. they don't have them in manila anymore (and the young clerks i asked in any video store doesn't seem to know lino brocka... just the old people and middle aged people i "interviewed" knew of the classic filipino films. it's sad).
so yes, i'm desperate to see even just one of the classics you guys already savored over these years.
thanks again :)
Post by: Noel_Vera on Feb 21, 2006 at 06:18 AM
Also, I believe Relasyon and Manila by Night are on dvd...?
Post by: marco_van on Feb 21, 2006 at 08:16 AM
Pelikula at Lipunan will be showing many classics. Keep haunting this forum, and you'll find a sked.
Also, I believe Relasyon and Manila by Night are on dvd...?
is that in the philippines? because i live all the way here in california :(
well i saw cain at abel in an online store.. i am planning to buy that when
i am not broke anymore :) that'll be the first lino brocka film i'll ever watch.
but the first really, realy good filipino film i ever saw was "anino" by
raymond red. it gives me the chills whenever i watch it.
Post by: Noel_Vera on Feb 21, 2006 at 11:08 AM
Post by: rse on Feb 21, 2006 at 07:27 PM
http://www.cinefilipino.com/
I haven't tried ordering from them though. I'm tempted to buy Manila By Night and Ina, Kapatid, Anak.
When I was in the Phils. last January, I was able to buy their old releases like Relasyon, etc. from Astrovison.
They claim that the DVD's are remastered but for Relasyon at least I can say that the transfer is so-so.
The new movies like La Visa Loca, Magnifico, etc., the transfers are great (Philippine standard).
Post by: keating on Feb 21, 2006 at 10:33 PM
hi keating, will it be ok if you make me a copy of maynila sa kuko? or upload it to the web for me to see...
and hello to all! it's my first time here, i got into filipino films when i heard that lino brocka's movies were
cannes festival material, now i wanted to see his movies with no luck. they don't have them in manila anymore (and the young clerks i asked in any video store doesn't seem to know lino brocka... just the old people and middle aged people i "interviewed" knew of the classic filipino films. it's sad).
so yes, i'm desperate to see even just one of the classics you guys already savored over these years.
thanks again :)
Welcome aboard, marco_van.
I live in Manila. As Noel suggested, you can try ordering from some online websites that sells Filipino films both classics and current. Good luck on your search. BTW, you can search for any rare video on www.wwvideos.com.
Post by: rse on Feb 23, 2006 at 11:51 PM
just finished watching the digital film Ang Anak Ni Brocka by first time director Siegfried Barros-Sanchez. the film had an intersting premise, what if the late National Artist Lino Brocka had a son? this was the question that plagued the main characters in this fascinating first feature. the film of course was not perfect. Nonie Buencamino in the male lead did the best he could with his role even if his character wasn't entirely fleshed out. one could understand his dilemma but there wasn't enough scenes to sympathize with the plight of Tony, his character. the best scenes in the movie were the interviews with Brocka's friends and colleagues in showbiz. interestingly though some key characters in the movie were played by some of Brocka's regular stable of actors like Gina Alajar, Phillip Salvador, Bembol Roco & Jaclyn Jose. too bad they weren't able to include Hilda Koronel & Christopher de Leon but even without them the film stood on its own. one thing i noticed is the lack of footage from Lino's early films. although there were some clips from Tinimbang Ka Ngunit Kulang, Insiang, Bona, Tatlo Dalawa Isa, Ang Tatay Kong Nanay, Ano Ang Kulay Ng Mukha Ng Diyos, Maynila Sa Mga Kuko Ng Liwanag & Macho Dancer. still photos form Santiago, Wanted Perfect Mother & Stardoom were also included. inspite of the poor quality of the videos shown in the movie, they still added life to the story. it would've had more impact if they included his other noteworthy films due to lack of resources or even copyright laws. that aside Ang Anak Ni Brocka still managed to keep my interest for almost three hours! did the film answer the question? does Lino Brocka have a son? you have to watch the movie to find out.
i remember when i would go the theaters to watch a Lino Brocka film and i always looked forward to seeing not just a movie with a social message but a film that had great acting in it. unfortunately the acting in this movie leaves so much to be desired, aside form Nonie Buencamino, nobody else really stood out. even Gina, Phillip, Bembol & Jaclyn who displayed such brilliance in Brocka movies didn't give the performances expected of them in this film. the film's most moving performance if i could call it one was the archived interview of William Lorenzo at the hospital after the accident. it was probably his best and surpasses even the ones he essayed on screen in the movies he did with Brocka. he was sincere and the emotions were real, it was affecting. nevertheless this movie still deserves to be seen not just by regular moviegoers but Filipino film enthusiasts as well. it saddened me when they asked 20 year olds if they knew who Lino Brocka was and most of them said no, what a pity. i think now is the perfect time for a Lino Brocka Film Retrospective.
I bought this one from Manila. I've started with it, (it's three VCD's) and I'm in the middle of the second CD (I think).
My impression so far is that it's a great concept but poor execution. It would have played better as a regular documentary instead of a mock docu.
I can't understand why they decided to use Gina Alajar as a fictional character instead of as a regular interviewee. It could have been more interesting. But I really love the segment where they showed footages of old Brocka films. That gave me chills. Let me finish the whole set and I will give another feedback later.
Post by: keating on Feb 24, 2006 at 01:53 PM
Now I know why this film sank into oblivion. It's not Abaya's fault but the material itself and the script by Edgardo M. Reyes. With a powerhouse cast headed by Susan Roces, Eddie Garcia, Romeo Vasquez & Rita Gomez, Abaya's first directorial debut has fine performances and boasts of outstanding cinematography and production design. This is not her cup of tea, but the feminist angst that she would master starts here in the person of Roces.
The first 20 minutes was quite engaging, after that it went nowhere. One must stand the slow narrative to know the mystery behind Roces character and how she experience the trauma that still haunts her. Abaya was able to rebound vigorously after this mess with the grim and realistic BRUTAL followed by her best film MORAL.
Post by: marco_van on Feb 27, 2006 at 04:19 PM
Post by: marco_van on Mar 01, 2006 at 07:28 PM
that will not waste my money like it did in the past (and i am traumatized
about that). can u guys recommend me some good ones. i am the kind
of guy that read reviews and recommendations before viewing a movie.
thanks!
Post by: keating on Mar 05, 2006 at 05:46 PM
This film raise the level of erotic genre in Philippine Cinema joining the ranks of (SCORPIO NIGHTS, BOATMAN, PRIVATE SHOW). Technically well-made, crisp editing, excellent production design and cinematography, cool music that jibes with the movie, plus great performances from the four leads (Jaclyn Jose, Ana Marie Gutierrez, Julio Diaz, Gino Antonio).
The milieu reminds me of a Wong Kar Wai film with a touch of Brocka that impressed me so well. Jaclyn Jose is a rarity in local cinema, her subtle, restraint performances in every movie is always a joy to watch for! She just glows everytime on the screen. In the confrontation scenes, Gutierrez also showed her depth nearly stealing the scene from the wonderful Jose, same with Diaz & Antonio. Four people are caught in the midst of passion and betrayal. The love scenes are well-executed, intense and heat are still present. Compelling, riveting and the tension between the four leads demands attention from start to finish.
Armando Lao's script is fresh and innovative, not exploitative that caters most to Pinoy erotic films from the 80's. When the four leads start to grope and hold each other's arms, the chemistry is so spontaneous that you forget that they were just acting on the screen.
I hope movies like this will return with a vengeance.
Post by: Noel_Vera on Mar 06, 2006 at 03:52 PM
Post by: keating on Mar 06, 2006 at 07:22 PM
Post by: Noel_Vera on Mar 07, 2006 at 02:44 AM
Post by: Noel_Vera on Mar 07, 2006 at 02:54 AM
Post by: keating on Mar 07, 2006 at 04:15 AM
When Takaw Tukso came out, everyone was surprised Pascual made a film that good. I think you should be looking at Armando Lao's script.
Yeah, I almost forgot Armando Lao. His track record is consistent. I like all his collaborations with Jeffrey Jeturian.
Post by: Noel_Vera on Mar 07, 2006 at 06:41 AM
Lacaba, Lao, and Lee early in his career are pretty much what I'd consider writer-auteurs. Writers whose voices are are so strong they impose their mark on the film, not the director.
Post by: Noel_Vera on Mar 07, 2006 at 11:45 AM
Post by: wedge on Mar 07, 2006 at 12:03 PM
Post by: Noel_Vera on Mar 07, 2006 at 12:49 PM
It was the only time Osang and I ever had a kind word for each other. ;D
Post by: wedge on Mar 07, 2006 at 01:03 PM
hm, waddyathink of babae sa bintana? haven't seen it, but is it worth watching?
Post by: Noel_Vera on Mar 07, 2006 at 03:25 PM
Post by: keating on Mar 07, 2006 at 09:28 PM
His collaobrations with both Jeturian and Rono (La Vida Rosa) are pretty good. Right now, I like his work better than Ricky Lee's.
Lacaba, Lao, and Lee early in his career are pretty much what I'd consider writer-auteurs. Writers whose voices are are so strong they impose their mark on the film, not the director.
Among these great writers, only Pete Lacaba didn't join the softcore bandwagon. Lee has the exploitative SILIP. Lao has the classic TAKAW TUKSO. But Pete has the great voice in the political arena.
Post by: wedge on Mar 08, 2006 at 12:44 AM
Among these great writers, only Pete Lacaba didn't join the softcore bandwagon. Lee has the exploitative SILIP. Lao has the classic TAKAW TUKSO. But Pete has the great voice in the political arena.
I think Pete Lacaba's more into narrative fiction that on screenplays.... I'd probably line him up with Edilberto Tiempo, Butch Dalisay, Greg Brilliantes, Nick Joaquin and F. Sionil Jose.
Post by: jdv1229 on Mar 08, 2006 at 08:11 AM
Everyone was a wonder in that movie, especially the kid and Osang. Besides Eskapo, I think it's one of his best works.
It was the only time Osang and I ever had a kind word for each other. ;D
what do you think of Rono's early works like Private Show & Itanong Mo Sa Buwan?
Post by: keating on Mar 08, 2006 at 12:49 PM
Everyone was a wonder in that movie, especially the kid and Osang. Besides Eskapo, I think it's one of his best works.
It was the only time Osang and I ever had a kind word for each other. ;D
You didn't like her collaborations with Carlitos?
Post by: wedge on Mar 08, 2006 at 12:55 PM
Post by: keating on Mar 08, 2006 at 01:02 PM
Post by: Noel_Vera on Mar 08, 2006 at 02:55 PM
I like the crazy ones--Maricel getting raped, spat on, slapped by her father, fainting, and waking up with amnesia in Abot Kamay ang Pangarap (my favorite)--and all that in the first five minutes.
Then there was Osang in Ligaya ang Itawag Mo sa Akin, which is a takeoff on The Lady Without Camelias / Camille / La Traviata. Only in this movie the woman didn't die, so the whole story is pointless.
I love the whorehouse shot and lit like a Disneyland park ride. Kind of obvious he's never been to one in his life.
I also love Ang Lalaki sa Buhay ni Selya, with its memorable ending--Osang and Gardo wave a gun in Ricky Davao's face, threatening to take his son; Davao refuses. Gardo, who has a gun, gives up anyway, says they'll leave. Davao stops them, says the boy should be with his mother. Gardo grabs the boy and a suitcase, is about to leave, when Osang stops him and says he only loves her body, not her self (DUH). Gardo is left outside the gate, fuming, with the gun still in his hand.
All faultlessly shot and edited. Technically perfect.
I remember watching one of his films with a filmmaker (won't say who), and him saying "it's amazing--Carlitos has LIVE SOUND, and perfectly recorded." I replied "he obviously wants you to hear every word." He laughed his head off.
Yeah, I guess he's elevated Philippine cinema, only I'd say it was straight into the Twilight Zone.
Post by: wedge on Mar 09, 2006 at 06:41 AM
BOSO - Jon Red
Gratuitous nudity. Erratic camera shots. A lackluster attempt on digital moviemaking. Probably achieved nothing but another wave of exposure of Katya Santos' mammary glands. Took an obvious jab at Peque's Scorpio Nights without the tragic finale. Could've been much better if Epy is killed at the end. Constrained acting on the minor roles except for Epy's bearded kainuman and Epy himself. The redemption comes from the voice-over. Could say that Raymond Red is still better than his bro.
Post by: Noel_Vera on Mar 09, 2006 at 12:09 PM
I just saw...
Could say that Raymond Red is still better than his bro.
Hear, hear.
Post by: keating on Mar 09, 2006 at 12:26 PM
what do you think of Rono's early works like Private Show & Itanong Mo Sa Buwan?
On PERSONA last night, Jaclyn Jose speaks fondly of Rono's PRIVATE SHOW. I don't know why Rono had to change his name to Sixto Kayko for his first directorial debut.
Post by: Noel_Vera on Mar 09, 2006 at 02:10 PM
what do you think of Rono's early works like Private Show & Itanong Mo Sa Buwan?
Only saw this now. Private Show was decently done, but it looked too much like a Boatman ripoff (Ricky Lee did uncredited work on Boatman). Itanong was also okay, but it didn't impress me somehow. Something off about it.
Post by: jdv1229 on Mar 09, 2006 at 07:41 PM
On PERSONA last night, Jaclyn Jose speaks fondly of Rono's PRIVATE SHOW. I don't know why Rono had to change his name to Sixto Kayko for his first directorial debut.
the reason why Chito Rono opted to use a pseudonym for his directorial debut is to protect his father's name (remember Minister Jose Rono?)
Post by: jdv1229 on Mar 09, 2006 at 07:45 PM
Only saw this now. Private Show was decently done, but it looked too much like a Boatman ripoff (Ricky Lee did uncredited work on Boatman). Itanong was also okay, but it didn't impress me somehow. Something off about it.
i guess you could say that, but Jaclyn Jose & even Gino Antonio gave commendable performances in Private Show...
did you know that the story of Itanong Mo Sa Buwan started as a teleplay and was aired as one of the episodes in Hiyas? the small screen version starred Gina Alajar & Julio Diaz.
Post by: jdv1229 on Mar 09, 2006 at 07:58 PM
Post by: Noel_Vera on Mar 10, 2006 at 12:37 PM
i guess you could say that, but Jaclyn Jose & even Gino Antonio gave commendable performances in Private Show...
I thought they were terrific; I just have a problem with the film and script overall.
Yeah, I heard from Bing Lao Itanong was first a TV play.
Insiang with brand-new titles? I hope it isn't in that psuedo-literate style they used on Tinimbang. These are slum dwellers, for Christ's sake...
Post by: keating on Mar 10, 2006 at 09:39 PM
the reason why Chito Rono opted to use a pseudonym for his directorial debut is to protect his father's name (remember Minister Jose Rono?)
Thanks for the info. PRIVATE SHOW looks dirty but you could actually smell the sweat of the live-sex performers. Jaclyn Jose's tour de force performance is a classic in my book.
Post by: Noel_Vera on Mar 11, 2006 at 03:41 AM
Post by: jdv1229 on Mar 11, 2006 at 06:39 AM
Insiang with brand-new titles? I hope it isn't in that psuedo-literate style they used on Tinimbang. These are slum dwellers, for Christ's sake...
yeah Noel brand new subtitles & a newly restored print. those were the conditions of the New York Film Festival committee. it's one great opportunity. Insiang has been screened here in NY before the couple of screenings i attended were all filled with filmgoers who admire Lino Brocka's work.
Post by: keating on Mar 11, 2006 at 10:59 AM
She was also very good, if not better, in Itanong and Macho Dancer. Heck, she's good in almost anything she's in...
Even with no dialogue at all, she's amazing!
Post by: Noel_Vera on Mar 11, 2006 at 12:21 PM
yeah Noel brand new subtitles & a newly restored print. those were the conditions of the New York Film Festival committee. it's one great opportunity. Insiang has been screened here in NY before the couple of screenings i attended were all filled with filmgoers who admire Lino Brocka's work.
Would you know who masterminded the whole thing? The Insiang screening, I mean?
Post by: keating on Mar 11, 2006 at 12:26 PM
Post by: wedge on Mar 11, 2006 at 12:38 PM
Post by: keating on Mar 11, 2006 at 01:04 PM
Post by: wedge on Mar 11, 2006 at 01:06 PM
Post by: keating on Mar 11, 2006 at 01:11 PM
Post by: jdv1229 on Mar 11, 2006 at 07:50 PM
Would you know who masterminded the whole thing? The Insiang screening, I mean?
yeah... Vincent Nebrida & Richard Pena (Executive Director of the Film Society Of Lincoln Center)
Post by: jdv1229 on Mar 11, 2006 at 07:51 PM
Geez. Layo. And is Insiang the only Filipino film to be shown? Is it a part of a director retrospective?
Wedge... it's a part of the New York Film Festival Retrospective...
Post by: jdv1229 on Mar 11, 2006 at 07:53 PM
Yeah, I think so according to Jojo's post. If I have enough dough, I'll go there in September. ;)
you should... ako'ng bahala sa 'yo pagdating mo dito ;)
Post by: Noel_Vera on Mar 12, 2006 at 01:35 AM
yeah... Vincent Nebrida & Richard Pena (Executive Director of the Film Society Of Lincoln Center)
Pena's Filipino, I assume? Or at least Vincent's friend? Then we should be seeing more films there, hopefully...
They should do Tatlong Taong Walang Diyos! I'm wiling to translate--at least we can avoid that literary stuffiness that pervades Tinimbang's subtitles...
Post by: jdv1229 on Mar 12, 2006 at 02:21 AM
Pena's Filipino, I assume? Or at least Vincent's friend? Then we should be seeing more films there, hopefully...
They should do Tatlong Taong Walang Diyos! I'm wiling to translate--at least we can avoid that literary stuffiness that pervades Tinimbang's subtitles...
no, Richard Pena isn't Filipino, yeah he's Vincent's friend. we have plans for Tatlong Taon but it's a little too early to discuss it... :)
Post by: Noel_Vera on Mar 12, 2006 at 02:56 AM
FILIPINO FILMS IN NEW YORK (http://journals.aol.com/noelbotevera/MyJournal/entries/997")
Post by: keating on Mar 12, 2006 at 08:35 AM
you should... ako'ng bahala sa 'yo pagdating mo dito ;)
Thanks, jo! I'll sneak out also on your hundreds and massive film collection. :)
Post by: keating on Mar 12, 2006 at 10:41 AM
I would've said that too, bro. Pero knowing Noel, he probably has a perfect rebuttal to that hehe. ;D
I may argue with Noel regarding the films of Schumacher wedge, but he was always right! The man is capable and has so much intelligence regarding movies.
Did you know that he was the only one who saw the flaw in Bernal's HIMALA? The perversion of the filmmaker (Spanky Manikan) in that Bernal classic. Maybe Jojo can defend that.
Post by: jdv1229 on Mar 12, 2006 at 11:32 PM
Thanks, jo! I'll sneak out also on your hundreds and massive film collection. :)
puwede din hehehe.... pero hiram lang ha?
Post by: keating on Mar 12, 2006 at 11:35 PM
puwede din hehehe.... pero hiram lang ha?
Hahaha! Give me cash muna for my ticket airfare. ;)
Post by: jdv1229 on Mar 12, 2006 at 11:39 PM
Hahaha! Give me cash muna for my ticket airfare. ;)
peak season dito ang September kaya mahal ang plane ticket... it was great news when I learned na ipapalabas ang Insiang with a spanking new print & subtitles. it really an honor for the Philippines na makasama ang movie sa isang film retrospective at the New York Film Festival.
Post by: keating on Mar 12, 2006 at 11:53 PM
Post by: jdv1229 on Mar 12, 2006 at 11:55 PM
Was INSIANG the only Brocka film that will be screen?
yeah Insiang lang... ususally kasi they only feature one masterwork ng isang filmmaker like kay Kurosawa years ago, Kagemusha ang ipinalabas nila at kay Murnau naman Sunrise ngayon Insiang naman from Brocka...
Post by: keating on Mar 12, 2006 at 11:57 PM
Post by: jdv1229 on Mar 13, 2006 at 12:06 AM
Jo did you see the flaw in HIMALA? Noel posted it already on the yahoo board regarding the character of Spanky Manikan. What's your comment about that? Only Noel saw that flaw.
i have to watch it again...
Post by: keating on Mar 13, 2006 at 07:25 PM
yeah Insiang lang... ususally kasi they only feature one masterwork ng isang filmmaker like kay Kurosawa years ago, Kagemusha ang ipinalabas nila at kay Murnau naman Sunrise ngayon Insiang naman from Brocka...
I was surprised to know that INSIANG was shot within 14 days in the slums of Manila. And hold your breath, Imee Marcos wants to be part of the cast.
Post by: wedge on Mar 14, 2006 at 01:30 AM
Wedge... it's a part of the New York Film Festival Retrospective...
Are you going?
Sana may time at pamasahe ako pumunta dun. Hehe.
Post by: Noel_Vera on Mar 14, 2006 at 02:43 AM
Post by: keating on Mar 14, 2006 at 07:17 PM
Post by: keating on Apr 07, 2006 at 11:24 PM
Master filmmaker Ishmael Bernal has always been good in using expansive locale and multi-character in most of his films (Manila By Night, Nunal Sa Tubig, Ito Ba Ang Ating Mga Anak). His journey to religious fanaticism is powered by electrifying performances not only from its lead star but also from the thespians who have all background in theatre. More than 20 years had passed, Nora Aunor's trademark film IMO has not dated when I saw it last weekend.
A town changes when Elsa (Nora Aunor) reveals to the people her visions of the Blessed Virgin Mary. The town becomes a bustling community when her skills attract a lot of sick people coping with incurable disease and the pilgrims. A filmmaker (Spanky Manikan) arrives with the hope of catching the miracle on film, instead he witnessed the rape of Elsa and her best friend Chayong (Laura Centeno). The town's activities stopped when Elsa's pregnancy was discovered. Elsa decided to call again the people and denies the existence of miracle before a tumultous crowd until she was asssinated.
Bernal controlled the film throughout with minimalist style but let go towards the ending with a big bravura sequence that will end all finale in Philippine Cinema. Joe Gruta's wife who was my colleague in our office told me that ending was shot in military strategy by Bernal with so much help of course from the big crowd. What lies here are the tremendous acting skills by the thespians from the cast, Vangie Labalan, Gigi Duenas, Spanky Manikan, Joe Gruta, Pen Medina & Laura Centeno. One can't help but feel so much anxiety when Elsa saw the face of Labalan, before announcing to the crowd that no miracle exists. Winston Raval's music is haunting, cinematography and production design were all superb. Since Bernal was an Atheist, a blasphemous scene will not be far behind. The shot where the town's prostitute (Gigi Duenas) imitates the Bl. Virgin Mary amidst the sunset was a breathtaking to behold. That scene alone, it gave justice to Sergio Lobo's stunning cinematography. Now the debate here is the perversion of the filmmaker's character. Why did he film when Elsa & Chayong were being rape? Only Noel Vera saw that and perhaps Ricky Lee can answer that.
The classic line that Nora Aunor uttered and her monologue commands your breathless attention, powerful, riveting and brilliant! When she was being carried after that shot, she was the epitome of the Black Nazarene which sent my spine chilling! She can now stop making movies, because HIMALA is the film that earns her the mark of a true actress in Philippine Cinema, I'm totally impressed!
Post by: jdv1229 on Apr 09, 2006 at 10:07 PM
click on the link below to see selected scenes from this Bernal classic:
http://home.comcast.net/~robertalberto/himala.htm
Post by: rse on Apr 09, 2006 at 10:29 PM
Post by: Noel_Vera on Apr 10, 2006 at 08:38 AM
I visited a town near Pinatubo, talked to some people there and it's exactly as in Himala: the people there have gone back to god, and are convinced they are being tested in their faith.
Post by: keating on Apr 10, 2006 at 05:11 PM
Post by: jdv1229 on Apr 10, 2006 at 06:23 PM
Jojo was that the trailer on your link? ??? Charo Santos Concio one of the executive producers of ECP was so fond also of this movie as she narrates her experience on the retrospective documentary.
no, it wasn't the trailer... those were selected scenes from the movie.
Post by: keating on Apr 10, 2006 at 08:56 PM
Post by: jdv1229 on Apr 11, 2006 at 06:15 AM
Is it true that Nora only miss one point for the prestigious Best Actress award at the Berlin Film Fest? And she was not around also when the ceremony was being conducted that's why she didn't bag the award. But she wowed most of the jurors at the Berlin Film Fest for her portrayal of Elsa in Bernal's HIMALA.
it's absolutely true... apparently that's how they vote on who would win the award for Best Actress... Nora didn't go due to a misunderstanding with the ECP bosses.
Post by: keating on Apr 13, 2006 at 10:33 AM
Post by: Noel_Vera on Apr 13, 2006 at 03:43 PM
I'm not too clear on the cast--that's Lito Pimentel as Bong, the bad guy, right? And I think Toby Alejar plays one of her boyfriends, the third one? And who is Toby's former--is that Laurice?!
The mother--Perla, right? is wonderful, and of course Bella Flores is magnificent; she even has a memorable last shot (literally) that makes you feel for her.
And correct me if I'm wrong, but this has to be Claudia's single best performance. She's amazing here.
Post by: keating on Apr 13, 2006 at 05:12 PM
Noel check her out also in Chionglo's SINNER OR SAINT.
Post by: jdv1229 on Apr 13, 2006 at 06:46 PM
Jojo--kept expecting O'Hara's Uhaw na Pag-ibig to be a mediocre melodrama, but it's actually terrific. Hard to get into at first, but it gets to you, and finally owns you in the end.
I'm not too clear on the cast--that's Lito Pimentel as Bong, the bad guy, right? And I think Toby Alejar plays one of her boyfriends, the third one? And who is Toby's former--is that Laurice?!
The mother--Perla, right? is wonderful, and of course Bella Flores is magnificent; she even has a memorable last shot (literally) that makes you feel for her.
And correct me if I'm wrong, but this has to be Claudia's single best performance. She's amazing here.
it's a great film Noel! O'Hara's pseudo tribute to Bernal's Manila By Night, remember the opening scene? it really grabbed me the first time i saw the movie.
Lito Pimentel was the bad guy, of course Patrick de la Rosa as the schoolmate/boyfriend & Edgar Mande was the third one. i have to re-watch the movie again to find out who Edgar's former lover was.
i totally agree with Perla Bautista's performance... she was astonishing. i especially liked her when she was beating up Claudia after discovering her affair with Patrick, and Claudia, it's in this movie where she actually showed her growing intensity as an actress which was followed by her critically acclaimed performance in Sinner Or Saint. i must say that it was O'Hara who first tapped into her unrecognized acting talent. i actually loved Claudia in that scene where she found her ***spoiler alert*** dead boyfriend, she was just amazing!
Post by: keating on Apr 14, 2006 at 11:38 AM
I saw this film many years ago at U.P. Film Center when they had a Ricky Lee film retrospective. Another case of time will tell because the audience was already laughing, shouting and crying at the right places. A classic film that reminds you of excellent outputs of Philippine Cinema has to offer when the movie was released back in 1982.
MORAL tracks the lives of four women all bind by friendship. Lorna Tolentino as Joey whose life spins out of control is a promiscuous drug junkie. Gina Alajar as Kathy is an aspiring singer who will do everything so that she cain gain fame and fortune although aware of the mediocrity of her voice. Sandy Andolong as Sylvia still seeks for the love of her homosexual husband and Anna Marin as Maritess is the submissive female to her husband who takes on the traditional role of mother and housewife.
The four women take separate paths in order to realize their true selves and finding out what's best for them. It is sometimes similar to an Altman film but more excellent in terms of narrative. You can watch the film in the middle and still grasp the whole message of the movie, no character will be left behind. Most outstanding among the four is Lorna Tolentino, her portrayal as a bum and later realizes that she can't get the man she loves is simply amazing. Abaya didn't follow the typical Filipino film structure which succumbs to a rising conflict but a resolution at the end.
Jojo thanks again! I missed the hilarious scene when Gina Alajar saw Claire dele Fuente when they were rushing the pregnant Anna Marin at the hospital. ;)
Post by: Noel_Vera on Apr 14, 2006 at 12:49 PM
Mely Tagasa--suddenly I'm in awe of her. Kastilyong Buhangin, this pic--she does melodramas better than Ricky Lee can, at least when O'Hara directs them. Have they done anything else together?
And I can't believe Sergio Lobo and O'Hara worked together! The shadows here are velvety; you could almost sink into them. The lighting is harsh, when it's not seductively soft, and there's a real look to this picture that owes nothing to either Romy Vitug or Carding Baltazar. Have they done anything else together?!
And that beautiful ambiguity--I'm talking about Mande's eventual departure. It's foreshadowed by his ex-girlfriend's visit (Laurice Guillen?), then Claudia's full confession of love (which he never hears, being asleep), and finally his scene with the American. We're all ready for the rejection, but what's that pause he does before he comes in and gives it to her straight? Is he trying to steel himself for the task? Because he finds it too difficult, or because he still loves her? Or is he thinking this is the best way to break things off, by being such a bastard? Maybe not the third, but O'Hara teases us with these throwaway moments, so fleeting you can miss them if you blink...
Looking at O'Hara's filmography. He did this film after Ibulong Mo sa Puso (seen that, Jojo?) and before the great Condemned. Seems to me he's been making variations on Maynila sa Mga Kuko ng Liwanag all throughout the first half of the '80s, and many of them can stand, well, not side-by-side, but at least in the same room as that film...
Post by: jdv1229 on Apr 14, 2006 at 07:19 PM
Yeah, I saw the Manila By Night opening. I suppose this is O'Hara's reply--both are more different than they are similar, I think. Or, O'Hara is responding to Bernal's cynicism--and Manila By Night is the most complete expression of Bernal's cynicism--by showing characters that, however depraved or corrupt or perverse, still have his (O'Hara's) sympathies.
Mely Tagasa--suddenly I'm in awe of her. Kastilyong Buhangin, this pic--she does melodramas better than Ricky Lee can, at least when O'Hara directs them. Have they done anything else together?
And I can't believe Sergio Lobo and O'Hara worked together! The shadows here are velvety; you could almost sink into them. The lighting is harsh, when it's not seductively soft, and there's a real look to this picture that owes nothing to either Romy Vitug or Carding Baltazar. Have they done anything else together?!
And that beautiful ambiguity--I'm talking about Mande's eventual departure. It's foreshadowed by his ex-girlfriend's visit (Laurice Guillen?), then Claudia's full confession of love (which he never hears, being asleep), and finally his scene with the American. We're all ready for the rejection, but what's that pause he does before he comes in and gives it to her straight? Is he trying to steel himself for the task? Because he finds it too difficult, or because he still loves her? Or is he thinking this is the best way to break things off, by being such a bastard? Maybe not the third, but O'Hara teases us with these throwaway moments, so fleeting you can miss them if you blink...
Looking at O'Hara's filmography. He did this film after Ibulong Mo sa Puso (seen that, Jojo?) and before the great Condemned. Seems to me he's been making variations on Maynila sa Mga Kuko ng Liwanag all throughout the first half of the '80s, and many of them can stand, well, not side-by-side, but at least in the same room as that film...
Mely Tagasa also co-wrote Gaano Kita Kamahal? with O'Hara and To Mama With Love if i'm not mistaken. to my knowledge, it was only in Uhaw Sa Pag-Ibig that O'Hara got to work with Sergio Lobo who's more identified with Bernal, which if you think about it an interesting choice for the director since Lobo also did the camerawork for Manila By Night.
i have seen Ibulong Mo Sa Puso which was O'Hara's only teen angst movie with the exception of Pangarap Ng Puso or even Takot Ako Eh! the O'Hara touch was so evident but it was ruined by uninspired performances from Liezel, Albert Martinez and even Amalia Fuentes. O'Hara gave the film a different approach, if it starred maybe the likes of Snooky & Gabby it would've been a much better film but O'Hara's lesser movies are still much better than your average Filipino film.
Post by: keating on Apr 14, 2006 at 09:36 PM
Story of our people, our country has always been the subject of Lino Brocka's films. ORAPRONOBIS released during the time of Aquino administration has seen rough sailing not only from the MTRCB but the government itself. It was not release commercially in the theatres up to now. Sufferings, struggle and oppression are the typical ingredients in this film that makes it similar to another work by Pete Lacaba, KAPIT SA PATALIM: BAYAN KO.
Released from detention after the People Power revolution, Jimmy Cordero (Philip Salvador) an ex-priest and former politcial detainee returns to his wife (Dina Bonnevie). His belief in the Aquino govt., was shattered when he learned that his former fiancee (Gina Alajar) was abducted by a group of vigilante named the ORAPRONOBIS headed by Bembol Roco.
This movie is on the league of Brocka's other masterpieces from MAYNILA SA KUKO NG LIWANAG to INSIANG to KAPIT SA PATALIM: BAYAN KO. No one will be left unmoved and touch by the movie. Salvador's scene with his son near the end is simply moving and touching, Dina Bonnevie is excellent in her role as the wife of Salvador. Bembol Roco was menacing as the head of ORAPRONOBIS, you don't want to meet this person in the highlands. And Gina Alajar as the most sympathetic human abused victim was remarkable. Technically superior, compelling and truthful.
Post by: Noel_Vera on Apr 15, 2006 at 01:22 AM
i have seen Ibulong Mo Sa Puso which was O'Hara's only teen angst movie with the exception of Pangarap Ng Puso or even Takot Ako Eh! the O'Hara touch was so evident but it was ruined by uninspired performances from Liezel, Albert Martinez and even Amalia Fuentes. O'Hara gave the film a different approach, if it starred maybe the likes of Snooky & Gabby it would've been a much better film but O'Hara's lesser movies are still much better than your average Filipino film.
Takot Ako, Eh! from what I remember was crap--and this I say reluctantly. Wanted to like it, time travel gimmick and all, but it was too, I don't know, too whimsical to get a fix on, and I think O'Hara's shaky with whimsical humor (he's better with black comedy). I wonder too about Prinsesang Gusgusin and To Mama With Love, if I'll feel better about them with a second viewing (Gusgusin fell flat, To Mama--what I remember of it--was inconsistent).
Possibly O'Hara wanted to work with Lobo after Manila By Night; also possible that he got a clip from Manila thanks to Lobo.
I wonder if this was the time that he met Bernal. Interesting what Bernal tried to do upon meeting him, heh... ;D
Post by: jdv1229 on Apr 15, 2006 at 06:17 PM
how was his first meeting with Bernal? i wonder if he saw Uhaw Sa Pag-Ibig...
Post by: keating on Apr 15, 2006 at 07:04 PM
Post by: Noel_Vera on Apr 16, 2006 at 08:44 AM
how was his first meeting with Bernal?
Bernal tried to screw him.
Honest.
Post by: jdv1229 on Apr 16, 2006 at 09:16 AM
I liked Maricel and Janice in To Mama. I think I liked the mother too--Anita Linda, or Lolita Rodriguez? I really need to see all of them again.
Bernal tried to screw him.
Honest.
same here i liked bith of them in To Mama... the mother was played by Gloria Romero. btw have you received your package?
really? oh my gosh! :o
Post by: Noel_Vera on Apr 16, 2006 at 12:07 PM
Quote
really? oh my gosh!
I had introduced film critic Max Tessier to O'Hara. He was asking him questions. I mentioned Bernal. O'Hara laughed, and said "Gusto niya 'kong kantutin!" Max wanted to know what O'Hara said. O'Hara replied "He wanted to make love to me!"
Post by: jdv1229 on Apr 16, 2006 at 12:37 PM
I got it. But sem break is here and I'm confined to anime, horror, and action films.
I had introduced film critic Max Tessier to O'Hara. He was asking him questions. I mentioned Bernal. O'Hara laughed, and said "Gusto niya 'kong kantutin!" Max wanted to know what O'Hara said. O'Hara replied "He wanted to make love to me!"
glad you got them...
i wonder how Brocka would've reacted to that...
Post by: Noel_Vera on Apr 16, 2006 at 12:46 PM
Post by: keating on Apr 16, 2006 at 04:46 PM
Post by: rse on Apr 16, 2006 at 07:33 PM
Mario O’ Hara
Finally I am able to see this O Hara’s acclaimed classic. What can I say? Firstly, in my opinion this is one of his most visually striking movies. It has an epic feel to it even though it’s basically a very intimate story of a young woman caught in-between the two sides of war. The acting is uniformly excellent, especially Nora’s. I like her quiet intensity which is so typical with her early movies.
One thing that I do not buy in this movie is Christopher De Leon’s character. I just can’t make myself believe that such a person exists during those times. It would have been perfect if the character is 100% Japanese (or a half-Japanese but played by a Japanese actor or even by a Japanese-looking actor). I know that the reason for this is budgetary but it does greatly affect my appreciation of the movie. Maybe if the character is played by a lesser known actor it would have worked better for me.
What I admire the most about the movie is its economy. I’ve mentioned above that it has an epic scale to it -- but that’s achieved without the use of expensive sets and effects, but by using real WWII footage and by choosing a great location and clever camera tricks.
And also, O Hara has employed some of his trademark “magic-realism” in this movie, but this time it blended well with the rest of the picture. He is yet successful in achieving the same balance since (in my opinion).
Although I am a little bit disappointed I still consider this film a truly great Filipino classic.
Post by: jdv1229 on Apr 16, 2006 at 08:11 PM
Ishma has the habit of kissing everyone on the set whenever shooting wraps up. ;)
i worked with him in an episode of Isip Pinoy but he never kissed me. ;D
Post by: jdv1229 on Apr 16, 2006 at 08:17 PM
Tatlong Taong Walang Diyos
Mario O’ Hara
Finally I am able to see this O Hara’s acclaimed classic. What can I say? Firstly, in my opinion this is one of his most visually striking movies. It has an epic feel to it even though it’s basically a very intimate story of a young woman caught in-between the two sides of war. The acting is uniformly excellent, especially Nora’s. I like her quiet intensity which is so typical with her early movies.
One thing that I do not buy in this movie is Christopher De Leon’s character. I just can’t make myself believe that such a person exists during those times. It would have been perfect if the character is 100% Japanese (or a half-Japanese but played by a Japanese actor or even by a Japanese-looking actor). I know that the reason for this is budgetary but it does greatly affect my appreciation of the movie. Maybe if the character is played by a lesser known actor it would have worked better for me.
What I admire the most about the movie is its economy. I’ve mentioned above that it has an epic scale to it -- but that’s achieved without the use of expensive sets and effects, but by using real WWII footage and by choosing a great location and clever camera tricks.
And also, O Hara has employed some of his trademark “magic-realism” in this movie, but this time it blended well with the rest of the picture. He is yet successful in achieving the same balance since (in my opinion).
Although I am a little bit disappointed I still consider this film a truly great Filipino classic.
most people who have seen Tatlong Taon had that same problem with Christopher's character as well, even the actor himself had his own reservations and has constantly said in interviews that it was indeed Nora's movie. but you know what? there's a possibility that someone like Masugi actually existed during WWII. his is a more compassionate Japanese Officer unlike that of Kenji Marquez' character in Gatas Sa Dibdib Ng Kaaway...
Post by: keating on Apr 16, 2006 at 08:38 PM
i worked with him in an episode of Isip Pinoy but he never kissed me. ;D
Whoa, what episode Jo of ISIP PINOY? The one which Morato banned........MARALITANG TAGA-LUNGSOD?
Post by: jdv1229 on Apr 16, 2006 at 08:55 PM
Whoa, what episode Jo of ISIP PINOY? The one which Morato banned........MARALITANG TAGA-LUNGSOD?
no... Ang Kayamanan Ng Simbahan...
Post by: keating on Apr 16, 2006 at 09:12 PM
Post by: jdv1229 on Apr 16, 2006 at 09:43 PM
You are so lucky Jo. You were able to work with Bernal. Is he cooler than Peque? Last time I saw Ishma was during the screening of MANILA BY NIGHT at the Shang where he gave some info, and he was so fat. Too bad he will passed away that same year.
well couldn't compare him with Peque... Bernal is loud but it was while editing our Isip Pinoy episode when i asked him the proverbial question of who deserved to win Best Actress in 1982 since he directed both Himala and Relasyon...
Post by: pinoymovies on Apr 17, 2006 at 05:11 AM
http://movies.groups.yahoo.com/group/philippinecinemavault/
Post by: Noel_Vera on Apr 17, 2006 at 01:45 PM
One thing that I do not buy in this movie is Christopher De Leon’s character. I just can’t make myself believe that such a person exists during those times. It would have been perfect if the character is 100% Japanese (or a half-Japanese but played by a Japanese actor or even by a Japanese-looking actor).
Half-Japanese, half Filipinos existed in those days; Japanese workers were brought in to work on Kennon road, among other American projects. I've met quite a few of them in Baguio, and they keep close ties to Japan, even getting scholarships to Japanese universities.
(edit) forgot to mention that Japanese Christians were expelled from Japan in the 17th century, some of whom settled in Manila. The Paco area was known as "Yellow Plaza" because around 3,000 Japanese lived there. They've been around, and intermarrying, for longer than I realized.
I don't think much of Boyet as an actor--not dumb, but not exciting--but I thought this was his finest, most complex performance ever.
Post by: halvert on Apr 17, 2006 at 03:20 PM
well couldn't compare him with Peque... Bernal is loud but it was while editing our Isip Pinoy episode when i asked him the proverbial question of who deserved to win Best Actress in 1982 since he directed both Himala and Relasyon...and what was his answer?
Post by: rse on Apr 17, 2006 at 07:52 PM
Laurice Guillen
This is another movie that I’ve heard so much about. Finally I was able to see it on video. The video quality of the version that I saw was not very good. It was full of scratches and deteriorating. Even in this state I was still able to appreciate this Laurice Guillen masterpiece.
While watching the movie a thought came into mind. This is the quintessential Celso Ad Castillo movie that he’s failed to make. It has all the makings of an Ad Castillo movie starting from the location, to its characters and the basic plot points. If only the sex scenes are more explicit (this version that I saw was pretty tame) I could swear that this is his movie. I didn’t know that Laurice Guillen is capable of making a movie that is this visual. Maybe it has helped that it was lensed by Romeo Vitug. (I also noticed that this was produced by Armida Seguion Reyna. This movie would probably later serve as a template for what would be the Reyna-Films-produced-movie look.)
The major thing that sets this from becoming a Celso Ad Castillo movie is the storytelling. This movie flows logically and elegantly. It echoes the basic premise of Rashomon but the story is taken to another direction (and it’s distinctly Filipino). The sex scenes in this movie are no where near explicit but they are very well executed and has real heat in them. The climax involves a scene that somewhat precedes Basic Instinct (replacing the “tarik” with an ice pick).
Aside from one too many melodramatic moments I think the hysterics are kept to a minimum. Johnny Delgado and Gina Alajar are both on top form here. I’m not that impressed with Dennis Roldan though, but he’s more of a plot point than a character anyway so it doesn’t really matter.
Reading the credit I’ve noticed that this was penned by Ricky Lee. It reminded me how good he can be. His recent outputs had been watch-able at best but some were downright embarrassing for a scriptwriter of his stature. He has totally succumbed to the establishment (but I guess like the rest of us, he’s got bills to pay). I can’t wait for him to write another film that matters again (or has he passed his prime?)
Post by: Noel_Vera on Apr 18, 2006 at 09:25 AM
Salome
Laurice Guillen
I didn’t know that Laurice Guillen is capable of making a movie that is this visual.
You could see her talent as early as Kasal? (her first) and in what I think is her best work, Init sa Magdamag.
Quote
The sex scenes in this movie are no where near explicit but they are very well executed and has real heat in them.
Yep; I think she's better than this new crop of Matti/Laranas/what have you at eroticism--better even than Peque in Scorpio Nights because she does more with much less.
Post by: rse on Apr 18, 2006 at 11:09 PM
You could see her talent as early as Kasal? (her first) and in what I think is her best work, Init sa Magdamag.
I thought before that she was more of a actor's director than a visualist (because she's an excellent actress) although I must say that I haven't seen much of her major works.
Her recent outputs are just too plain like Santa Santita and American Adobo. I like parts of Tanging Yaman though.
I haven't seen "Init" and "Kasal" yet but I'm looking forward to seeing them someday. ;D
Post by: rse on Apr 18, 2006 at 11:55 PM
Funny it has what seem to be Russian subtitles and the DVD is a copy of a VHS release I think.
What can I say? This is probably the most explicit mainstream Filipino film I’ve ever seen.
I think it belongs to the very best of sexploitation movies. If you watch it with that frame of mind you will enjoy it else this is basically a very crappy movie with lots sex and frontal nudity. Most of the major characters are either having sex or are walking around naked. Maria Isabel Lopez is hot hot hot!
The scenes with kids are quite disturbing though. I don’t know how they got away with that!
The opening scene reminds me of a scene from Apocalypse Now.
Post by: Noel_Vera on Apr 19, 2006 at 12:32 PM
Post by: keating on Apr 20, 2006 at 08:54 PM
Post by: pinoymovies on Apr 21, 2006 at 10:18 PM
(http://hometown.aol.com/pinoymovies/images/sisa.jpg)
to Susan Roces' MARUJA
(http://hometown.aol.com/pinoymovies/images/maruja.jpg)
to Rio Locsin's DISGRASYADA
(http://hometown.aol.com/pinoymovies/images/disgrasyada.jpg)
Find more movie ads of Pinoy Movies at the url below. Maybe add a movie ad from your own collection:
http://movies.groups.yahoo.com/group/philippinecinemavault/
Post by: keating on Apr 22, 2006 at 10:53 AM
Post by: rse on Apr 22, 2006 at 01:51 PM
Ishmael Bernal
(This is a review of the DVD release, not the movie since we all know how great this movie is anyway.)
I’ve seen Manila By Night before on a taped TV broadcast from Cinema One. When I heard that it will finally be released on DVD I got very excited. Wow! Finally they’re releasing (real) Filipino classics on DVD! Kudos to CineFilipino for doing this. I can’t wait for it to become the Philippine version of Criterion Selection.
Anyway back to the DVD. The DVD contains I think the most complete version of the movie. All the profanity and sex scenes are all intact. The transfer disappointingly is almost the same quality as the one they show in Cinema One. I don’t think this has been remastered at all. It’s in 1.33:1 aspect ratio but I guess it might be its original aspect ratio. A major plus is the inclusion of English subtitles. The special features are nothing to talk about: just upcoming releases and a short text about the movie.
The major thing that disappointed me with this release is the inclusion of a weird ending where there was a voiceover explaining what happened to each of the characters of the movie. It was very lame and cheapens the movie (I guess this is the censored-version of the ending). While watching it I thought that heck they changed the ending of the movie. Immediately after this ending, the real ending follows (the same ending they had in Cinema One). The guys from CineFilipino should have cut that and put in the special feature as an alternate ending.
Post by: Noel_Vera on Apr 22, 2006 at 02:13 PM
Post by: jdv1229 on Apr 22, 2006 at 05:29 PM
That sounds very annoying, almost as if you'd rather see the Cinema One broadcast, or tape it. Wonder why they did that.
it's the only master copy that regal owns... that particular scene with the voice over was made to please the censors and the Marcos government. that was included in City After Dark, the theatrical version. while the butchered one shown on Cinema One was Ishmael Bernal's complete Manila By Night.
Post by: keating on Apr 22, 2006 at 08:06 PM
Post by: pinoymovies on Apr 22, 2006 at 09:01 PM
Hey, pinoymovies can you post the link for the poster of Celso Ad's PATAYIN MO SA SINDAK SI BARBARA? Thanks!
There used to be a Celso Ad Castillo website but I can't find it on the web anymore.
(http://hometown.aol.com/pinoymovies/images/patayinsasindak.jpg)
Post by: keating on Apr 22, 2006 at 09:12 PM
Post by: talisman30 on Apr 24, 2006 at 06:01 PM
Thanks for the pic, pinoymovies! Really appreciate it, man. I'm dying to see this cult classic. :)
Ron which is better patayin sa sindak si barbara the original release or dawn zulueta's version? ???
Post by: keating on Apr 24, 2006 at 06:13 PM
Ron which is better patayin sa sindak si barbara the original release or dawn zulueta's version? ???
Forget the Rono version with Dawn & LT, bro. Its bland but technically well-made. The original by Celso Ad has more shock value. :o
Post by: Noel_Vera on Apr 24, 2006 at 08:28 PM
Post by: keating on Apr 24, 2006 at 08:45 PM
still no sked on Cinema One.
Post by: talisman30 on Apr 25, 2006 at 05:55 PM
How lucky you are, Noel! It was simultaneously shown in the late 90's together with Celso Ad's PINAKAMAGANDANG HAYOP SA BALAT NG LUPA during the World Cinema Centennial Celebration, but I didn't go with it. :(
still no sked on Cinema One.
i was in college back then when this was shown in Mega. i dunno if this was that event Ron. niyaya ako, obviously di ako sumama. hehehe ;D
Post by: keating on Apr 25, 2006 at 06:00 PM
Post by: Noel_Vera on Apr 29, 2006 at 02:56 AM
That said, I think O'Hara had a great subject to deal with--a kind of tribute to the Philippine cinema of the '50s and '60s, and a kind of neorealist expose of industry practices today. It's not as moving, but I don't think it's meant to be--there's some distance inserted there between us and the material, unlike in Bona; we're meant to think as much as feel.
Ultimately, they're two very different creatures, and I love them for different things. But I had to just plunk them side by side, and see how they size up with each other. ;D
Post by: jdv1229 on Apr 29, 2006 at 11:12 AM
Post by: Noel_Vera on Apr 29, 2006 at 11:28 AM
Post by: keating on Apr 29, 2006 at 12:47 PM
What if Vilma played Bona? ;D
Post by: rse on Apr 29, 2006 at 02:26 PM
I haven't seen the movie but I've read a lot of great things about it.
Post by: jdv1229 on Apr 29, 2006 at 05:36 PM
Ultimately, yeah sure, probably for Criticine which would love to have it. It's one of Nora's finest performances, maybe not up the level of Bakit Bughaw (am I just prejudiced? ;D), but up there. I think it's her finest collaboration with Brocka, at least.
better than Ina Ka Ng Anak Mo? Bona was the better movie but Nora's performance in Ina Ka astonished everyone who's seen it. she was at times on par with Lolita Rodriguez, maybe even better.
Post by: jdv1229 on Apr 29, 2006 at 05:43 PM
I was mesmerized by the ending in Brocka's BONA. Nora poured all her emotions and anger in that emotionally charged scene. Of course, Brocka always indulge us in those terrific cinematic moments, full of heart and gut-wrenching feelings.
What if Vilma played Bona? ;D
if you'll notice in all three films Brocka handled Vilma, nothing compares to his collaborations with Nora. Brocka was most inspired in his movies with the Superstar. proof of which Bona is considered to be one of his best films while Ina Ka Ng Anak Mo is blue collar melodrama at it's finest. even Brocka's adaptation of An American Tragedy, Nakaw Na Pag-Ibig was an interesting study of Filipino society and the effects it had on each individual.
Vilma as Bona? i coudn't imagine her fetching water in the slums of Tondo.
Post by: jdv1229 on Apr 29, 2006 at 05:49 PM
I hope that www.CineFilipino.com will strike a deal with Bona's producers/copyright owners and release Bona on DVD.
I haven't seen the movie but I've read a lot of great things about it.
i've spoken with one of the honchos at cinefilipino and they would really want to release Bona on dvd. the problem is the only existing master print of the film is at the Museum Of Modern Art here in New York. it was donated by Pierre Rissisent along with other Brocka classics Insiang and Jaguar and is now part of MOMA's permanent collection. Nora produced Bona for her own NV Productions, but even she doesn't have a copy of the film. Bona is a great film! there's a huge difference between the tv series in which Laurice Guillen and Ronaldo Valdez played Bona ang Gardo respectively. the tv version concentrated on her infatuation with Gardo while the film dealt with Bona's obsession thus allowing herself to be fully manipulated by Gardo.
Post by: keating on Apr 29, 2006 at 05:56 PM
if you'll notice in all three films Brocka handled Vilma, nothing compares to his collaborations with Nora. Brocka was most inspired in his movies with the Superstar. proof of which Bona is considered to be one of his best films while Ina Ka Ng Anak Mo is blue collar melodrama at it's finest. even Brocka's adaptation of An American Tragedy, Nakaw Na Pag-Ibig was an interesting study of Filipino society and the effects it had on each individual.
Vilma as Bona? i coudn't imagine her fetching water in the slums of Tondo.
But I noticed, Vilma was also good in Brocka's RUBIA SERVIOS, ADULTERY. She's even at her best in HAHAMAKIN LAHAT. And yeah agree with you, those oppressed roles, only Nora can do justice to it.
Post by: jdv1229 on Apr 29, 2006 at 06:08 PM
But I noticed, Vilma was also good in Brocka's RUBIA SERVIOS, ADULTERY. She's even at her best in HAHAMAKIN LAHAT. And yeah agree with you, those oppressed roles, only Nora can do justice to it.
i'm not saying Vilma is not good in all three of her Brocka movies but the director was most inspired with his collaborations with Nora. Brocka directed Vilma first in Rubia Servios (1978) with Vilma fervently hoping to bag the Best Performer Award at the MMFF that went to Nora for Atsay. he also worked with Vilma a year before his tragic death in Hahamakin Lahat (1990) but she was stomped once again by Nora when she won all the major acting awards for Andrea. Brocka wasn't able to give Vilma any acting recognition for any of the films he made with her which cannot be said of her fims with Bernal.
Post by: keating on Apr 29, 2006 at 06:15 PM
Vilma is more fond of Ishma rather than Lino.
Post by: jdv1229 on Apr 29, 2006 at 06:21 PM
Come to think of it, or is it just mere coincidence? Nora-Brocka, Vilma-Bernal collaborations created more impact on the two icons respective filmography.
Vilma is more fond of Ishma rather than Lino.
i guess you can say that... maybe Vilma was indeed fond of Bernal but Nora became his good friend. he even directed her Super Me Noodles commercial in the early 90's. Mother Lily gave Vilma a lot of projects with Bernal but most of them were troublesome, including the eight month shoot for Pahiram Ng Isang Umaga. on the other hand Nora's riffs with Brocka stemmed with their beliefs in politics and politicians.
Post by: Noel_Vera on Apr 30, 2006 at 09:21 AM
What if Vilma played Bona? ;D
The director would cast her as the lead in the movie Gardo is making and it would become a different story altogether.
Hard to say--Bona's the stronger, more elegant story, and Brocka's working with his strengths here, dramatizing the plight of the oppressed (can't say Nora is poor--ironically, she comes from the middle class and, fascinating psychological detail, decides to live with Philip in the slums). In Ina Ka, both Nora and Brocka are making a stretch. I admire them for it, but I can't help but suspect that a huge part of the acclaim is due to their making that stretch.
Middle class films can be great, but I think it needs a specialist--Ozu, or Rohmer, or Bernal at his most cynical.
Bona isn't very cynical; if it's ironic, it's ironic in a simple, unsophisticated way. Bernal wouldn't touch it with a ten-foot pole. The more interesting question is what if Bernal directed Ina Ka--and cast Vilma in it. ..?
As for Brocka and Nora, gotta remember he didn't respect her at first; he was offered the chance to direct Nora's second prestige project after Banaue, and he passed saying "I want nothing to do with that superstar!" handing the project instead to Mario O'Hara. Hence, Tatlong Taong Walang Diyos, Bulaklak sa City Jail, Kastilyong Buhangin, Bakit Bughaw ang Langit?, Condemned all happened.
Bona's moving, it's great; more, Nora's great in it...but I think I prefer Nora in Bakit Bughaw.
Post by: keating on May 01, 2006 at 11:16 AM
Post by: Noel_Vera on May 01, 2006 at 11:26 AM
Post by: keating on May 01, 2006 at 11:28 AM
Post by: Noel_Vera on May 01, 2006 at 12:13 PM
Post by: keating on May 01, 2006 at 09:51 PM
Post by: Noel_Vera on May 02, 2006 at 12:49 PM
I disagree but still consider it great, for several reasons, outlined here:
Maynila sa Mga Kuko ng Liwanag (http://movies.groups.yahoo.com/group/noelmoviereviews/message/325)
Post by: keating on May 02, 2006 at 06:38 PM
Just read your review, Noel. The character development might be the flaw of the movie, if it had more interesting characters, its a very tough act to follow. Mike de Leon's stunning cinematography is so gorgeous to look especially at the opening scene.
Post by: Noel_Vera on May 03, 2006 at 06:48 AM
Post by: rse on May 13, 2006 at 04:29 PM
Celso Ad Castillo
I finally saw the VCD release. Like the VCD release of Burlesk Queen the transfer is abysmal. One added bonus for those who don’t speak Tagalog is that it contains English subtitles.
Even at the state of the transfer you can still see traces of the greatness of its cinematography. Some of the shots in the rice fields recall paintings of the great Fernando Amorsolo.
The story is also interesting albeit confusingly told. The last parts near the ending are way too confusing. I don’t know if there were some scenes missing or scenes misplaced in the movie but it’s just a mess.
I find it funny that some of the characters have noticeable accents and some don’t. Christopher’s accent comes and goes. Johnny Delgado I think is excellent. He looks so much the part in the same way he was perfect as Gina Alajar’s husband in Salome.
Perla Bautista maybe a bit too old to play the part of Christopher’s mom, especially in the early part of the movie where she played a newly wed virgin.
Eddie Garcia’s plays almost the same character that he played in Ganito Kami Noon.
For me the best scene in this movie is the staring contest between the Eddie Garcia character and Christopher’s.
A very flawed but still great Filipino movie.
Post by: jdv1229 on May 16, 2006 at 01:07 PM
www.cavitemovie.com
Post by: rse on May 16, 2006 at 11:35 PM
Lino Brocka
I bought the DVD from CineFilipino. The transfer for its age is quite good. The major plus is that it’s in widescreen and it has English subtitles. The audio is not as good so I would recommend it that you set the subtitles on when you watch the movie.
I haven’t seen this movie before I don’t know much about it. What can I say? This I think is Brocka’s most subtle and sustained movie. The acting is topnotch. It captured the “probinsiya” look so vividly. The whole setting looks so real and raw. The house itself is beautiful. The people living in the first floor of the house kinda reminded me of Insiang. And it looks like they’ve been played by the same group of actors.
A great great movie!
Post by: Noel_Vera on May 18, 2006 at 03:27 PM
Uhaw na Pag-ibig (Thirst for Love, 1983) Mario O'Hara (http://www.criticine.com/review_article.php?id=14)
Excerpt:
I watched Mario O'Hara's "Uhaw na Pag-ibig" (Thirst for Love, 1983) expecting a mediocre production—no awards, no admiring words from anyone—and for the first thirty minutes or so it pretty much confirmed my suspicions. It's your run-of-the-mill, fallen-woman story where Lala (Claudia Zobel) fights with her mother (Perla Bautista), gets pregnant by her boyfriend (Patrick de La Rosa), plans to elope with said boyfriend (who is stabbed while waiting in an alley), and eventually runs away from home.
Matters become more interesting once she leaves. She hooks up with Bong (Lito Pimentel) who gives her a dancing gig in a nightclub, then asks her to “entertain” a select clientele of men to the tune of two thousand pesos each (roughly 250, early '80s U.S. dollars). Bong's pimping is just one of his sidelines; there's the suggestion that he's also a drug-smuggler, and when one of his men bursts into his bedroom with a bullet wound in the shoulder and a police officer not far behind, Bong handles the situation with such cool ruthlessness (O'Hara's clean staging and editing of the action reminds you of Sam Fuller, or Raoul Walsh) that you suck your breath in dismay: this guy is bad news, and too d**ned smart to beat easily.
Post by: rse on May 21, 2006 at 05:52 PM
Lino Brocka
This is the first time I’ve seen this movie. It’s very similar in feel to Kapit sa Patalim, although I think that Kapit flows better than this movie. The third act of the film feels a bit disjointed. But still this movie has the trademark Brocka urgency and rawness.
The chase seen on the Smokey Mountain is one of Brocka’s most vivid cinema.
Another plus is that Amy Austria looks so hot in this movie.
Post by: Noel_Vera on May 21, 2006 at 06:06 PM
Post by: keating on May 21, 2006 at 06:35 PM
Post by: Noel_Vera on May 22, 2006 at 07:11 AM
Celso Ad. Castillo’s Ang Alamat Ni Julian Makabayan (1979) is barely coherent—the 16 mm print exhibited at the festival featured a burbling soundtrack, fade-to-pink colors, and enough skips to please the heart of any eight-year-old girl playing jump rope. Yet somehow this film—with its faded colors and indecipherable dialogue—is great.
Ad. Castillo uses a mythmaking technique—shooting interviews where different people talk about Julian Makabayan—that Warren Beatty uses later for his John Reed character in Reds (though if you laid any five minutes of either film side by side, it’s hard not to prefer Ad. Castillo’s fevered imagery to Beatty’s good-mannered filmmaking). He takes views and vistas of provincial rice paddies and transforms them (the way John Ford transformed Death Valley) into a magical, larger-than-life landscape. Watching this with Ad. Castillo’s other masterpiece (Pagputi Ng Uwak, Pag-itim Ng Tagak, 1978) reminds you—for the umpteenth time, it being all too easy to forget—that Ad Castillo is one of a handful of great filmmakers (besides Brocka, Bernal, and O’Hara) who worked during the second Golden Age of Philippine Cinema.
And some things I wrote about Ina, Kapatid, Anak:
Lino Brocka’s Ina, Kapatid, Anak (1979) shouldn’t work half as well as Portrait (of an Artist as Filipino). The script, by Mel Chionglo, deals with cruder, less sophisticated emotions than does Joaquin’s story; yet this melodramatic potboiler has more unruly life in it—no small thanks to the terrific cast, which includes the great Lolita Rodriguez as the adopted child returning from abroad; the late Charito Solis as her desperately unloved stepsister; and Rio Locsin as Solis’ ripe and luscious young daughter.
There is a point in the film—Locsin is caught trying to run away with a carnival man, who is beaten—when Lino pauses to peer into her face. Her expression is at once enlightening and enigmatic: you see the horror with which she reacts to the quick and savage beating; you see her realization that she has been fooled by this man, and her menfolk are only acting in her interest. You see that this is her first true moment as an adult human being—living in a world where nothing is clear, nothing is fair, and nothing will ever feel as innocent, ever again. It’s moments like this that lift Brocka’s films, even his most melodramatic hackwork, to the level of art.
Post by: rse on May 23, 2006 at 01:27 AM
Gil Portes
I must admit that I really don’t like Gil Portes’ style (or lack) of directing. His movies are just too bland and pedestrian for my taste.
I think Merika is great not because of him but because of the writers and of the actors.
It’s Nora’s movie and I think her great acting carried the whole film.
Post by: rse on May 23, 2006 at 01:52 AM
Ishmael Bernal
I managed to get a hold of an uncut copy of the film. I must say that the Cinema One version that I’ve seen previously contains only very minor cuts, noticeably a quick frontal nudity of the town whore and some extended violence (one that I’ve noticed is the beating of the guy who shot Elsa was a bit more graphic). Aside from that it’s more or less the same as the Cinema One version.
What can I say? Manila by Night might be Bernal’s best movie but, this is my favorite Bernal. The movie is almost perfect: great acting, great direction and some great writing. The production design is also top-notch. Cupang looks inhabited and not constructed.
The only thing that makes me cringe while watching it is the discussion by Elsa and the filmmaker (my least favorite character in the movie) about art and miracles, etc. near the end of the movie --but I can forgive Bernal for his few indulgences.
Watching this movie again makes me appreciate more Nora’s restrained acting and of course who will forget the iconic climactic monologue. The crowd scenes I think remain unmatched in Philippine cinema.
This film is no small miracle - one of Philippine cinemas bests.
Post by: Noel_Vera on May 23, 2006 at 10:37 AM
But why did you think the filmmaker just kept filming (SPOILERS) while Elsa was being raped? Always wondered about that and never got a satisfactory answer.
Post by: rse on May 24, 2006 at 02:44 AM
I like it too, rse, and a lot more, apparently, than the Manunuris ever did.
But why did you think the filmmaker just kept filming (SPOILERS) while Elsa was being raped? Always wondered about that and never got a satisfactory answer.
I have a little problem with it because it’s not very logical.
I’ve just convinced myself that he's that desperate to get a scoop that he will stoop to that level. Actually what I hate mostly about it is the fact that he actually is contemplating to show the film to the public. I know that it's a proof that the miracle might be a hoax but filming a crime while it's happening is a crime itself isn’t it? Does that make him an accomplice? I don’t know that legal implications of it.
Actually his actual camera (the machine) distracts me as well, he he he. It is way too old (I think) for the era.
As I’ve mentioned the filmmaker character is not my favorite character in the movie.
But I think Bernal used it more like a storytelling device. Not a very wise decision on his part but the movie has a lot going for it that I can easily forgive this minor mishap. ;D
Post by: Noel_Vera on May 24, 2006 at 04:24 AM
Post by: keating on May 24, 2006 at 12:28 PM
Post by: Noel_Vera on May 24, 2006 at 01:13 PM
Post by: rse on May 25, 2006 at 12:47 AM
Lino Brocka
An early Brocka -- yet one of his bests I think.
It’s spot-on showing the small town life, especially of the “manang”s.
I think it’s better than Peter Bogdanovich’s The Last Picture Show.
Lolita and Mario O Hara are both EXCELLENT. Their story adds some fable-like quality to the film.
Christopher’s character is more of an observer. He’s acting is typical of his old performances – simple but never boring. I prefer it to his acting-style now.
The only character here that I can’t really sympathize is Eddie Garcia’s.
It’s way too one-dimensional for my taste.
Minor gripes:
1. The Kuala-Cesar back story is a bit confusing.
2. Notice when the baby is shown near the ending. It is way too clean - all wrapped up and all. No sign of the umbilical cord or blood anywhere, he he he.
Post by: Noel_Vera on May 25, 2006 at 03:28 PM
I have my thoughts about both Eddie and Laurice's characters, put in this article:
Tinimbang Ka Ngunit Kulang (http://movies.groups.yahoo.com/group/noelmoviereviews/message/332)
Post by: Noel_Vera on May 25, 2006 at 04:16 PM
Post by: rse on Jun 05, 2006 at 05:07 PM
Celso Ad Castillo
This looks like the Kid's bid to a "Manila" movie. It has the same multi-character set-up of Manila By Night. The only difference is that he stumbles keeping the narrative together. Watching this movie makes me admire Bernal's achievement in Manila By Night more.
Bakit Bughaw Ang Langit
Mario O Hara
I think I finally found my favorite O Hara movie. This movie is just wonderful.
Perfect performance by Nora and Anita Linda!
I think Scorpio Nights tried that “cramped apartment complex” look but failed in comparison. In Bughaw O Hara made it look like those people actually live there, in Gallaga’s movie, it looks like a movie set. It doesn’t feel organic. That setup also reminded me of Hitchcock’s Rear Window – as I’ve mentioned above O Hara’s set-up fares better because it just looks and feels real.
The print that I saw was in bad condition. Some of the night scenes you can barely see what’s happening on the screen. I can only hope that this is released on DVD sometime in the future.
One minor complaint: They could have easily removed the unnecessary the serial rapist subplot.
Post by: commentary on Jun 05, 2006 at 05:21 PM
I was looking at Raya Martin's Indo Nacional, being quite impressed. Anyone seen this? What are your impressions?
It's still awaiting it's Philippine premiere, Noel, which will take place a week today-- Monday, June 12, 730pm, Shangri-La. 50 pesos entrance. The screening is sponsored by the French Embassy and is part of the French Spring Festival, as Raya has just returned from his Cannes Cinefondation filmmaking residency in Paris, France. Screening is open to the public, so everyone on the board is encouraged to attend. It will feature a live piano score.
Highly recommended.
Post by: Noel_Vera on Jun 06, 2006 at 02:51 PM
My article on Bakit Bughaw ang Langit? (http://criticine.com/review_article.php?id=6)
Post by: jdv1229 on Jun 08, 2006 at 07:22 PM
Thursday, Jun. 15 2006 Filipino Film & Arts Festival
June 9 - 15 2006
All tickets are $10
Friday, June 9
1pm: Ina Kapatid Anak
3:30: Slow Jam King
6:00: Maximo Oliveros (Q&A w/ producer Raymond Lee)
8-8:30 Reception for Slow Jam King
8:30: Slow Jam King
10:30: Q&A and Live concert performance by Steve Mallorca (dir. Slow Jam King) & his band
Saturday, June 10
12noon: Hahamakin Lahat
2:30: Slow Jam King (Q&A w/ director Steve Mallorca)
5pm: Words & Images
7:00: Riles (Q&A w/ director Ditsi Carolino)
8:30: Slow Jam King (Q&A w/ director Steve Mallorca)
11:00: Sa Aking Pagkagising Sa Aking Kamulatan
Sunday, June 11
12noon: Slow Jam King
2:30: Ina Kapatid Anak
5pm: Bunso (Q&A w/ director Ditsi Carolino)
6:30: Sarung Banggi (Q&A w/ producer Raymond Lee)
8:30: Slow Jam King
Monday, June 12
2:30 Slow Jam King
5:00 Pinoy Blonde
7:00 Film Forum/Workshop (sold as part of 8:00PM screening of Slow Jam King)
8:00 Slow Jam King
10:30: Manila by Night
Tuesday, June 13
2:30: Slow Jam King
5:00: Hahamakin Lahat
7:30: Nasaan si Francis? ("Problema" Premiere Short Dir: Luis Pedron of Fanclubx.com)
10:00: Slow Jam King
Wednesday, June 14
2:30 Slow Jam King
5:00 Pinoy Blonde
7:00 Riles (Q&A w/ director Ditsi Carolino)
8:30: Slow Jam King
Thursday, June 15
2:30 Slow Jam King
5:00 Nasaan Si Francis?
7:00: Karnal (Q&A w/ production designer Fiel Zabat)
9:30: Slow Jam King
Sponsors:
The ImaginAsian
Unico Entertainment
The Kaya Collective
Cinefilipino.com
FanclubX.com
Carouselpinoy.com
Johnny Air Cargo
Perlas Ng Silangan Restaurant
Post by: ralfy on Jun 09, 2006 at 08:11 PM
Post by: Noel_Vera on Jun 10, 2006 at 02:31 PM
Quote
Posted by: "Michael E. Kerpan, Jr." [email protected] michaelkerpan
Fri Jun 9, 2006 7:05 am (PST)
--- In [email protected], "Noel Vera" <noelbotevera@...> wrote:
> Dan, that's a damned shame--Manila By Night is his masterpiece, and
> one of the great films of Philippine cinema. I think the print they
> have should be excellent too.
If there is an excellent restored print in existence, it doesn't SEEM
to have been used for the DVD!
The film itself was impressive -- but might be a bit too "over the
top" for my generally somber tastes. ;~}
I had a hard time trying to think what this may have been influenced
by. the closest match I came up was Ann Hui's "Story of Woo Viet"
(which came out a year later -- and was partly set in the
Philippines). Could late 70s avant-garde HK films have been an influence?
MEK
and:
I just got (and watched) my DVD of "Manila at Night". I don't know
what to think of this yet.
Was this aimed at the standard (non-arty?) audience? It seems far too
chaotic and elliptical to ever have worked for an "ordinary" audience
in the US.
The DVD claims that the film was restored -- if so, I hate to think
how bad of shape it was in prior to restoration. Visually (and
sonically) this fairly recent film is quite deteriorated.
MEK
Which has me wondering--wasn't Manila By Night a moneymaker, or at least a modest hit? I never got the impression that it flopped. Does this suggest that Filipino audiences are more flexible, perhaps?
Plus I think we talked about the DVD before, but I can't remember. It wasn't made from the good print?
Post by: rse on Jun 22, 2006 at 12:08 AM
I've just found out that some films produced by ECP can now be viewed online (or downloaded) as part of the subscription to ABS-CBN Now! website.
Be warned that the films are DRM'ed so they will stop playing once you're subscription expires.
http://now.abs-cbn.com/index-addon.aspx?mctl=3
Also Kabayan Central now sells most of their B&W Filipino movies on DVD's:
http://www.kabayancentral.com/vvideo.html
Post by: yamota on Jun 22, 2006 at 01:07 AM
Post by: Noel_Vera on Jul 05, 2006 at 02:22 AM
Population (in 2005):
Currency:
Equivalent to US Dollar:
No of Feature Films produced in 2005:
No of Feature Films released in 2005:
Box-Office Grossing in 2005 (in US Dollars):
Percentage Share of National Cinema:
Top-ten Films films in 2005:
Average rate of a theater ticket in US Dollars:
Number of theater screens in 2005:
Number of Theater Seats in 2005 (if data is available):
Address & contact numbers of State film bodies:
Address & contact numbers of film production companies (Three main entries would be OK):
Address & contact numbers of film distribution companies (Three main entries would be OK):
Address & contact numbers of TV channels:
Titles, dates and contacts of all international film festivals:[/b]
Post by: oggsmoggs on Jul 11, 2006 at 07:55 PM
Ishmael Bernal's Hinugot sa Langit (Snatched from Heaven) is a very challenging film to watch. Right from the start, the audience is introduced with scenarios of complex problems pressed after other problems. The characters are drafted from your typical melodrama stereotypes. The center of the drama is Carmen Castro (Maricel Soriano), the impossibly patient victim of the screenwriter-created dilemmas. Revolving around Carmen's personage and dilemmas are other characters that are seemingly cut from traditionally established cinematic stereotypes. There is Stella (Amy Austria), the liberated and seemingly modern cousin of Carmen. Juling (Charito Solis) is Carmen's overly religious landlady, an avid member of a charismatic prayer group. Jerry (Al Tantay) and Bobby (Rowell Santiago), are the two men in Carmen's life, the former, an irresponsible playboy-gambler, the latter, a traditionalist who is stuck to his life plans. Hinugot sa Langit, in paper, sounds like your typical Filipino melodrama where histrionics and impossible scenarios abound, but fantastically, the film is far from that. Beautifully restrained, simple, and hardhitting, Hinugot sa Langit tackles a controversial topic with an uncontroversial control and a humanistic approach to a central character that has all the problems of the world to withstand.
During the first few minutes of the film, we are informed that Carmen is pregnant. Her cousin Stella scoffs and recommends abortion. The father of the child, Jerry, also recommends abortion. Her landlady, who is busy juggling her religious aims and her legal quarrel with the poor families illegally living in her land, suggests that she keeps the baby as killing it would be a sin against God. Carmen sees signs that would seemingly suggest an answer to her difficult decision. Her poor neighbors struggle for money to feed their children. She sees a physically malformed child vending goods outside the church. She loses her job at a financing company due to the struggling economy during that time.
Hinugot sa Langit may be branded as preachy and anti-abortion but in reality, while its focus is that controversial issue, Ishmael Bernal and screenwriter Amado Lacuesta, populates the film with sidestories that suggest a latter more pressing issue, which is societal hypocrisy. It just so happens that abortion is the most telling of issues. The Philippines being a prominently Catholic nation declares abortion as criminally and morally wrong yet funnily, the practice is unwrittenly accepted among women who are time-pressed with a decision. Such is the scenario here, Carmen is surrounded by suggestions of what to do but is left upon her own faculties in deciding. Each suggestion is clouded by a tinge of doubt. The characters surrounding her aren't naturally sure of their own lives. Stella is outwardly happy and wild but inwardly is insecure and lonely. Juling carries within herself an unerasable guilt which she tries to forget through her religious practices, forgetting that the world has deeper problems than her past. All the events and the characters have unnatural and seemingly impossible roots, but as a screenplay, as a dramatic film, Hinugot sa Langit works.
Thematically sound, Hinugot sa Langit also boasts of technical mastery. The music is sparse and controlled. Bernal foregoes the overorchestrated notion of what a drama should be and instead relies on his visuals and his actors talents to draw out emotions. The cinematography is simple but there are some very wonderful shots where the lighting, the blocking of the actors, and the framing, contribute to an impressive addition to Bernal's atmosphere of confusion and cynicism for this unsure Filipino society. The acting is very impressive. Maricel Soriano is wonderfully restrained, letting go of her usual histrionics for the more difficult style of acting that comes from what is felt within than what is outwardly presented. Charito Solis is a wonderful presence, and so is Amy Austria, who singlehandedly gives the film a lighthearted humor. ****1/2/*****
Post by: wedge on Jul 12, 2006 at 07:57 AM
I'm not really certain if the title of this flick is Kailan Tama ang Mali or something else?
Post by: Qoheleth on Jul 12, 2006 at 11:34 AM
http://www.imdb.com/title/tt0370824/
Post by: oggsmoggs on Jul 13, 2006 at 09:39 AM
The screenplay for Filipino hit film Jologs won first prize in a contest initiated by film producer Star Cinema. The award-winning screenplay was supposedly darker, more biting than what we have now. Also, the screenplay was supposed to be directed by Jeffrey Jeturian, one of the country's leading directors. But like almost everything that lands on the laps of ABS-CBN and its film producing arm Star Cinema, it's bound to be rewrapped, repackaged, regurgitated faux-Hollywood style to please the millions of eager fans who'd be willing to let go of their hard-earned peso to get a glimpse of not one, but a whole stable, of these manufactured stars strut it out in the big screen. Luckily, the factory-manufactured film is light enough to enjoy, entertaining enough to withstand, and pretty enough to look at.
The film is a mixture of different storylines interweaving in a neighborhood coffeeshop. Literary misgivings abound this youth-oriented tale and despite the fact of it being labeled as fashionably original, nothing is really new with this teen flick. Ruben (John Prats) works as a cashier for the coffee shop, while struggling to find money for his schooling, money that he has to beg from his estranged rich father leading him to plan a small-time heist. Mando (Diether Ocampo) is the security guard for the cafe, who is also the understanding boyfriend to a japayuki (a dancer who works in Japan) who would leave both Mando and her infant to work abroad. Cher (Baron Geisler) is a transvestite who is chanced upon by mean and sinister cafe-owner Trigger (OneMig Bondoc). Iza (Assunta de Rossi) is loud and sexy and has a secret crush on super-religious student, who surprisingly, takes the independent woman for a date. Kulas (Vhong Navarro) is in love with taekwondo fighter and is ready with an engagement ring, but is unready for rejection. Lastly, Dino (Patrick Garcia) is former seminarian who is about to engage in premarital sex with his longtime girlfriend Faith (Jodie Sta. Maria).
There are too many plots in this youth-oriented flick - too many plots with very little to say. Screenwriter Ned Trespeces' solution to that is to replicate the oft-used Hollywood conceit, the interweaving storylines. The problem here is that despite the fact that these storylines and characters connect, the focal point is pretty much pointless. Why a cafe? Why an explosion? Like a true Filipino film, such had to be explained and in a revalatory scene leading to the expected climax, Trespeces does. It is that lack of confidence with his work or his acknowledgement that he has very little to say that keeps Jologs from standing out. The little stories are your typical angst-driven drivels that are just magnified a dozen times by witty filmmaking and overuse of visual gimmickry. True, there are very interesting moments in the film, but in a film that has to spend some more time with a multitude of other storylines, a few interesting moments will not make a truly good Filipino film. The filmmaking mimmicks of P. T. Anderson rather than the true master of ensemble filmmaking Robert Altman. The result stinks of gimmickry than real filmmaking. Replicating Anderson turned the film a dozen notches below Anderson's Magnolia, a far more liberating and adventurous piece of work. Funnily, Perez decided to end Jologs with a clear borrowing of Magnolia's song number - only this time the result is cheese and schmultz, instead of hairraising wonderment.
The filmmaking is very much standard but it's nice to imagine how Jeffrey Jeturian would handle the screenplay. He'd probably defend the original screenplay and keep Star Cinema's sugarcoating paws from morphing it off of its relevance. Jeturian's finest traits as a filmmaker is his utmost respect for his screenwriters. His opus Minsan Pa bore screenwriter Armando Lao's name above its title rather than the traditional way of labeling it as a director's work. If Jeturian did get a hold of this script (and yes, Jeturian is good with teens and non-actors), it would've probably been more relevant instead of being your everyday teen angst film the Philippines hasn't gotten rid of since the 80's.
Post by: keating on Jul 13, 2006 at 07:22 PM
And if we go back to the 80's there are many to mention.........BATCH 81, THE GRADUATES, BAGETS.
Even Gosiengfiao's UNDERAGE is worth to revisit.
Post by: oggsmoggs on Jul 13, 2006 at 09:43 PM
Present Philippine cinema can ironically be best represented by those which weren't crafted from real film stocks but by those films that are, at their most elemental, composed of ones and zeroes. Digital filmmaking, the saviour of Philippine cinema, has allowed newbie and independent filmmakers to actually craft their dream projects without the peering eyes of business-minded studios who's only goal is to get money back from their huge investments. Digital filmmaking has actually allowed media companies and culturally-driven businessmen to create mini-film festivals giving grants to filmmakers to create films from worthy screenplays. Montreal and Berlin film festival winner And Pagdadalaga ni Maximo Oliveros (The Blossoming of Maximo Oliveros) is a product of one of those grants. Dennis Marasigan's Sa North Diversion Road (On The North Diversion Road) is another. Not all the films produced from these grants are exactly excellent, some turn out to be too nebulous, idealistic, or too independent to be of merit. Gladly, Marasigan's film is quite good --- brilliant, actually.
Sa North Diversion Road is a screen adaptation of Tony Perez' play of the same title. I've seen an amateur staging of the play and sad to say, the result wasn't really memorable. The high school production was littered with overacting and lines being thrown out, wasting whatever wit Perez injected into his opus. The film is infinitely more understandable, more memorable than that sorry excuse for a staging that I have witnessed. The story is actually quite simply. A married couple is cruising by the North Diversion Road, the highway that connects Metropolitan Manila to the northern provinces. The couple is on the verge of break-up, with the husband recounting a recent philandering. In a stroke of genius by Marasigan, he edits the film with ten of the different scenarios recounted from a recurring point of the story. The scenarios range from comedic, dramatic, and hyphaluting --- all in different levels of brilliance.
The biggest difference between Marasigan's adaptation and Perez's written play is the fact that Marasigan has forever etched Perez's characters with recognizable faces - that of Irma Adlawan and John Arcilla. Perez's play, no matter how wittily written, can be ruined by who's playing who - in that staging I saw, by Atenean students who are far too young to understand the rigors of the play they've chosen to stage. Another difference is that Marasigan chooses to have Adlawan and Arcilla play the couple in each of the ten scenarios --- the staging I saw had different annoying non-actors battle it out as to who can overact the most in each scenario. The casting of Adlawan and Arcilla is perfect. Adlawan is a brilliant actress who is only getting the attention that she deserves nowadays. Her portrayal as the wife is pitch-perfect and whenever she changes roles, she shifts gears and there is no sign of any difficulty in portraying a nagger from that of a genius academician. Arcilla supplies Adlawan's mastery with constant control. He complements Adlawan when Adalawan's role requires her upstaging the husband and when it is his time to take control of the film, he does it with impressive emotionality.
One of the few misgivings of digital filmmaking is that visuals usually suffer. There is something with digital filmmaking that gives off a fake sense of color and depth with its visuals. Sa North Diversion Road does suffer from that type of visual downgrading but Marasigan understands the limitations of his medium. Instead of forcing the medium with epic sweeps and crazy visual gimmicks, he limits his canvas, making use of the limited space of the interior of the vehicle, occasionally giving the viewers an overview of the highway, or in the flashbacks, some close-ups and character-driven cinematography. It's pure filmmaking and Marasigan does it wonderfully --- nothing fancy, just a pretty much faithful adaptation of Perez's play. He draws everything from the material, multiplies it tenfold, spices it up with his understanding of what the material wants to say, and most importantly, trusts his two actors enough to grant them the driver's seat to take his film places.
Post by: Noel_Vera on Jul 14, 2006 at 12:37 PM
Post by: Noel_Vera on Aug 18, 2006 at 04:55 PM
So what do you think? Is this true, or wishful thinking?
Post by: keating on Sep 09, 2006 at 12:23 PM
MISTERYO SA TUWA
SOLTERO
TATLONG TAONG WALANG DIYOS
BULAKLAK SA CITY JAIL
SHAKE RATTLE & ROLE
8)
Post by: oggsmoggs on Sep 11, 2006 at 10:48 PM
Post by: oggsmoggs on Sep 12, 2006 at 02:22 PM
Post by: Noel_Vera on Sep 12, 2006 at 04:58 PM
I heard a story about how Lino and Mike got into a disagreement and Mike called off the shoot for that day. Funny how in this one case the cinematographer held all the power.
Tikoy Aguiluz did the still photography, incidentally. And if you have the clear copy, it's amazing the price of patatim in 1975!
Post by: Noel_Vera on Sep 12, 2006 at 05:05 PM
Post by: oggsmoggs on Sep 12, 2006 at 07:11 PM
It's not my favorite Brocka, but its vision of Manila is unmatched, thanks to Mike de Leon's photography.
It isn't either. I prefer the very first Brocka I saw Insiang to this. There's a whole lot of Brockas I have yet to see, so it's too early to decide which is my absolute favorite. And yes, Mike de Leon's photography is wonderful.
Post by: Noel_Vera on Sep 14, 2006 at 07:04 AM
Post by: oggsmoggs on Sep 14, 2006 at 03:39 PM
Post by: Noel_Vera on Sep 15, 2006 at 12:46 PM
Post by: oggsmoggs on Sep 15, 2006 at 07:45 PM
Post by: Noel_Vera on Sep 16, 2006 at 10:30 AM
I forgot they were rescued after that climactic dinner. That's really choice--"You mean I ate that meat for nothing...?"
Post by: daigoro on Sep 18, 2006 at 01:29 AM
More educated Filipinos seeing local films (http://showbizandstyle.inq7.net/entertainment/entertainment/view_article.php?article_id=15836)
So what do you think? Is this true, or wishful thinking?
My opinion is that by watching films made by Asian directors like Park Chan Wook, Takashi Miike, Akira Kurosawa enables us to break our fixation with Hollywood and gain an appreciation for Asian films. After gaining an appreciation for Asian films, the discovery that local films once tackled serious themes in an interesting manner makes one interested to track down those films and watch them. For someone who grew up thinking that local films were shallow and derivative of Hollywood films, that is an eyeopener.
I'm still trying to find a way to get to watch Maynila Sa Kuko Ng Liwanag and Kisapmata. One of my regrets is that I was too young to appreciate them when I got to watch them on TV. I was only able to catch the last scene of both films and it made an impression on me for their intensity even if I couldn't understand them.
Post by: Noel_Vera on Sep 18, 2006 at 06:02 AM
Post by: oggsmoggs on Sep 20, 2006 at 07:52 PM
Post by: ralfy on Sep 24, 2006 at 09:15 PM
Post by: jdv1229 on Sep 24, 2006 at 10:49 PM
Post by: Noel_Vera on Oct 04, 2006 at 12:17 PM
Post by: jdv1229 on Oct 06, 2006 at 10:46 PM
Thursday, Oct. 19 New York Filipino Film Festival 2006
Presented by: The Smithsonian Institute, The Cultural Center of the Philippines, and the Philippine Consulate of New York
Tickets:
$10 for general admission
$8 for group purchases (10 tickets or more purchased for the same screening. Available at the box office only)
All ticket sales are FINAL
SCHEDULE
FRIDAY OCT 6
3:00 Lasponggols
6:30 Opening Night Reception
7:30 Sandaan
9:00 Forum, presented by Philippine Consulate
10:00 Biyaya Ng Lupa (preceded by short film, Mansyon) Note: this film is not subtitled in English
SATURDAY OCT 7
12:00 Sarong Banggi
2:15 The Blossoming of Maximo Oliveros
4:30 Two Bells/Two Cities (Balangiga)
6:00 Q&A with Two Bells/Two Cities (Balangiga) filmmakers Bernie Stone, Sonny Sampayan
7:00 Merika, writer Gil Quito
9:30 Himala
SUNDAY OCT 8
12:00 Room Boy
3:00 The Blossoming of Maximo Oliveros
5:15 Closer To Home , director Joseph Nobile in attendance
8:00 Big Time
10:30 ICU Bed #7
MONDAY OCT 9
3:30 Mga Anak ni Brocka
6:45 Tinimbang Ka, Ngunit Kulang, dir. by Brocka
9:15 Tatlo, Dalawa, Isa, dir. by Brocka (may not have English subtitles)
TUESDAY OCT 10
3:30 Baryoke
6:30 Himala, dir. by Ishmael Bernal
9:15 Manila By Night, dir. by Ishmael Bernal
WEDNESDAY OCT 11
3:30 Isnats
6:30 Itim , dir. by Mike De Leon; writer Gil Quito in attendance (may not have English subtitles)
9:00 Kisapmata , dir. by Mike De Leon
THURSDAY OCT 12
MIDWAY BREAK
NO FILMS AT THE IMAGINASIAN ON THIS DATE
special film event at Perlas Ng Silangan restaurant
FRIDAY OCT 13
3:30 Memories of a Forgotten War preceded by assorted short films
5:45 The Blossoming of Maximo Oliveros
8:05 The Debut
10:10 Slow Jam King with director Stephen Mallorca in attendance
SATURDAY OCT 14
2:30 Tinimbang Ka Ngunit Kulang, dir. by Brocka
5:00 Tatlo Dalawa Isa, dir. by Brocka (may not have English subtitles)
7:30 Angela Markado, dir. by Brocka
10:30 Tubog Sa Ginto, dir. by Brocka (may not have English subtitles)
SUNDAY OCT 15
1:00 Himala
3:30 Tatlong Taong Walang Diyos (may not have English subtitles)
6:00 Minsa'y Isang Gamu-Gamo, appearance by writer Marina F. Gonzalez (may not have English subtitles)
8:30 Merika by Gil Portes, appearance by writer Gil Quito (does NOT have English subtitles)
MONDAY OCT 16
3:30 La Visa Loca
6:30 Tatlong Taong Walang Diyos (may not have English subtitles)
9:30 Insiang
TUESDAY OCT 17
3:30 Cavite
6:30 Ganito Kami Noon, Paano Kayo Ngayon, dir. by Eddie Romero (may not have English subtitles)
9:15 Passionate Strangers, dir. by Eddie Romero
WEDNESDAY OCT 18
3:30 Ang Balikbayan, dir. by Kidlat Tahimik
6:00 Mababangong Bangugot (Perfumed Nightmare), dir. by Kidlat Tahimik
8:30 American Adobo with cast members in attendance
THURSDAY OCT 19
5:00 DOUBLE FEATURE: An Untold Triumph & Sandaan
7:30 Forum with filmmaker Noel Izon in attendance
8:00 Closing Night Reception
9:05 Rigodon, filmmakers Sari Dalena & Keith Sicat in attendance
Post by: keating on Oct 09, 2006 at 08:00 PM
(Baso-Emmanuel H. Borlaza/Pridyeder-Ishmael Bernal/Manananggal-Peque Gallaga)
Twenty two years after I saw it on its first day run at Gotesco Cinema during the MMFF, still kicked a punch whether you are an adult or not. The horror trilogy that started it all and nearly monopolized the career of Peque Gallaga by directing the succeeding episodes, no close.
BASO was nearly ripoff from Maruja, the gothic love story that deals with life, death and revenge rolled into one. Arlene Muhlach looks so lovely indeed during her heyday. Only the ending is worth the trip. PRIDYEDER still sends me chill, the place embodies the typical haunted house that you don't want to live or step inside. Bernal should have made more horror films, he can deliver the shock and suspense value. MANANANGGAL was pure fun and the best among the lot. Except that Gallaga turned the flying sequences into animation which perhaps lessen the creepy impact of the flying creature. Certified cult classic that deserves to be revisit over and over again.
Post by: Noel_Vera on Oct 10, 2006 at 11:35 AM
And did Ina, Kapatid, Anak experience censorship problems? Or is that Insiang I'm thinking of? Thanks.
Post by: keating on Oct 10, 2006 at 12:08 PM
He gave an introduction on the film before the screening at the cocktails saying.....this is the definitive version of the film intended for Berlin Filmfest before it ruined gravely by the Marcos Regime.
I have the dvd but haven't got the chance to see it.
Post by: Noel_Vera on Oct 10, 2006 at 02:45 PM
Post by: keating on Oct 10, 2006 at 06:35 PM
To put exactly in the words of the late Ishmael Bernal on that screening........"kinatay-katay ng husto ng rehimeng Marcos ang Manila by Night!"
Post by: rse on Oct 11, 2006 at 03:40 AM
Anyone seen the DVD of Manila By Night? Is this the censored version? According to the CCP encyclopedia, the censored version was used in film retrospectives abroad--anyone remember when the uncensored version was finally screened?
And did Ina, Kapatid, Anak experience censorship problems? Or is that Insiang I'm thinking of? Thanks.
I have the DVD and yes it is uncut! But they butchered the ending; they included (badly inserted) the epilogue and then after that followed the real ending as seen in Cinema One.
Post by: keating on Oct 11, 2006 at 10:06 AM
Bernal didn't want a happy ending.
Post by: Noel_Vera on Oct 11, 2006 at 12:03 PM
Post by: Noel_Vera on Oct 11, 2006 at 12:24 PM
The New York Times' film critic Dave Kehr on Manila By Night (Ishmael Bernal, 1980), and Ina, Kapatid, Anak (Mother, Sister, Daughter, Lino Brocka, 1979) (http://www.nytimes.com/2006/10/10/movies/10dvd.html?_r=1&oref=slogin)
He also mentions all the Filipino films being shown in New York this October. (http://journals.aol.com/noelbotevera/MyJournal/entries/2006/10/03/filipino-films-in-new-york-and-in-vienna/1109)
Post by: keating on Oct 11, 2006 at 05:35 PM
Here's the funny thing: Dave Kehr emailed me and said he didn't notice any epilogue! Is that a brand new release? A different DVD maybe?
Is it different, the international dvd release, Noel? Rse mentioned that the narration was tucked in the finale.
You will be surprise Noel, but its true. Even the Aquino administration was disturbed by the movie, Morato perhaps during his time as MTRCB chief.
Bernal narrated to us that when they show the film during the late 80's they have to put the narration.
Post by: rse on Oct 12, 2006 at 02:32 AM
Here's the funny thing: Dave Kehr emailed me and said he didn't notice any epilogue! Is that a brand new release? A different DVD maybe?
I got my copy from www.cinefilipino.com website.
Post by: Noel_Vera on Oct 12, 2006 at 02:53 AM
rse, Dave also got the CineFilipino disc. Maybe I'll ask him again to be sure if he didn't get the epilogue. It was titles inserted into the ending, right?
Post by: Noel_Vera on Oct 12, 2006 at 11:14 AM
Imaginasian Filipino Film Festival schedule (http://www.theimaginasian.com/events/index.php)
The films shown are all either on projected DVD or projected Betacam except Lino Brocka's "Insiang" (1976). Many of them will not have subtitles; the Imaginasian schedule will indicate which ("Insiang" is subtitled, for the record).
I do still think the films are worth seeing, if only because this is possibly the only chance many New Yorkers will have to see the best the Philippines has to offer.
Added incentive (for what it's worth): I'll be introducing the films at eight of the screenings, and hopefully doing a Q & A afterwards, depending on time availability.
The films I'm introducing are as follows:
Saturday, Oct. 14
Tinimbang Ka Ngunit Kulang Lino Brocka 2.30
Tatlo, Dalawa, Isa, Brocka, 5.00
Angela Markado, Brocka, 7.30
Tubog sa Guinto Brocka, 10.30
Sunday, Oct. 15
Himala Ishmael Bernal, 1.00
Tatlong Taong Walang Diyos Mario O'Hara, 3.30
Monday, Oct. 16
Tatlong Taong Walang Diyos O'Hara, 6.30
Insiang Brocka, 9.30
I'll be the big guy with the loud voice. Hope to see you there...
Quote
The New York Times' film critic Dave Kehr on Manila By Night (Ishmael Bernal, 1980), and Ina, Kapatid, Anak (Mother, Sister, Daughter, Lino Brocka, 1979) (http://www.nytimes.com/2006/10/10/movies/10dvd.html?_r=1&oref=slogin)
He also mentions all the Filipino films being shown in New York this October. (http://journals.aol.com/noelbotevera/MyJournal/entries/2006/10/03/filipino-films-in-new-york-and-in-vienna/1109)
The Departed (Martin Scorsese, 2006) (http://movies.groups.yahoo.com/group/noelmoviereviews/message/605)
CRITIC AFTER DARK: A REVIEW OF PHILIPPINE CINEMA now available at Fully Booked, Powerplant Mall; CCP Bookstore; Datelines Bookstore, Cubao; and Booktopia, Libis, QC (http://www.bigozine2.com/theshop/books/NVcritic.html)[/size]
Post by: jdv1229 on Oct 12, 2006 at 11:18 AM
Presented by: The Smithsonian Institute, The Cultural Center Of The Philippines, and the Philippine Consulate Of New York
Tickets:
$10 for general admission
$8 for group purchases (10 tickets or more purchased for the same screening. Available at the box office only)
All ticket sales are FINAL
SCHEDULE
SATURDAY OCT 14
2:30 Tinimbang Ka Ngunit Kulang, dir. by Brocka with Film Critic Noel Vera in attendance
5:00 Tatlo Dalawa Isa, dir. by Brocka with Film Critic Noel Vera in attendance (may not have English subtitles)
7:30 Angela Markado, dir. by Brocka with Film Critic Noel Vera in attendance
10:30 Tubog Sa Ginto, dir. by Brocka with Film Critic Noel Vera in attendance (may not have English subtitles)
SUNDAY OCT 15
1:00 Himala with Film Critic Noel Vera in attendance
3:30 Tatlong Taong Walang Diyos with Film Critic Noel Vera in attendance (may not have English subtitles)
6:00 Minsa'y Isang Gamu-Gamo, appearance by writer Marina F. Gonzalez (may not have English subtitles)
8:30 Merika by Gil Portes, appearance by writer Gil Quito (does NOT have English subtitles)
MONDAY OCT 16
3:30 La Visa Loca
6:30 Tatlong Taong Walang Diyos with Film Critic Noel Vera in attendance (may not have English subtitles)
9:30 Insiang with Fim Critic Noel Vera in attendance
TUESDAY OCT 17
3:30 Cavite
6:30 Ganito Kami Noon, Paano Kayo Ngayon, dir. by Eddie Romero (may not have English subtitles)
9:15 Passionate Strangers, dir. by Eddie Romero
WEDNESDAY OCT 18
3:30 Ang Balikbayan, dir. by Kidlat Tahimik
6:00 Mababangong Bangugot (Perfumed Nightmare), dir. by Kidlat Tahimik
8:30 American Adobo with Cast Members in attendance
THURSDAY OCT 19
5:00 DOUBLE FEATURE: An Untold Triumph & Sandaan
7:30 Forum with Filmmaker Noel Izon in attendance
8:00 Closing Night Reception
9:05 Rigodon, Filmmakers Sari Dalena & Keith Sicat in attendance
Post by: Noel_Vera on Oct 13, 2006 at 02:00 PM
Edi Sian interviewed me for his blog Pinoy Post: When was the last time you watched a Filipino movie? (http://pinoypost.blogspot.com/2006/10/when-was-last-time-you-watched.html)
Excerpt:
If there is one thing Filipinos love to do it is watching movies in theaters. It is one of the cheapest forms of entertainment in the Philippines. The cinema offers a temporary escape into another world where Sharon Cuneta is accused of being "a second-rate, trying hard, copycat" or Kris Aquino's Dida matches Rene Requesta's Pido. But, this proud history of Philippine cinema that stretches way back to the Sampaguita, LVN, Premiere era is sadly being swamped by a tsunami of Hollywood blockbusters.
So, how did Philippine cinema, once the most prolific in Asia, end up where it is right now? Pinoy Post devotes 45 minutes to the state of the Filipino movie industry with Filipino film critic, Noel Vera. Noel is the resident film critic of BusinessWorld Philippines. He maintains a blog (http://journals.aol.com/noelbotevera/MyJournal) devoted to movies and he has also written a book on Philippine cinema called Critic After Dark (http://www.bigozine2.com/theshop/books/NVcritic.html).
Post by: keating on Oct 13, 2006 at 03:24 PM
Yeah, keats, and knowing that hypocrite (he used to hire out Far East Bank security guards at the Morato Branch, the uglier the better, squeeze orange slices all over their bodies, and lick it up with his tongue, did you know that?) but the epilogue I know of was done almost immediately after the movie was finished. Not all prints had the epilogue, pahabol lang for some. Now if the Aquino administration added a brand new epilogue, that's news to me.
rse, Dave also got the CineFilipino disc. Maybe I'll ask him again to be sure if he didn't get the epilogue. It was titles inserted into the ending, right?
LOL! Noel, you spill the beans again! Yeah that bestfriend of Bernal & Brocka, Armida and company, heard some nasty rumors about him. ;D
Didn't he publish the 1st Urian Anthology book which is now OOP? The epilogue I think was the same tucked in during the Marcos era. The uncut print is still in good shape.
Nice inputs on the interview, very very true. And if you talked about the Marcos era, they have contribute on the growth of Philippine Cinema just don't mind the sleazy sex films churned out during the ECP days.
Post by: Noel_Vera on Oct 14, 2006 at 02:14 AM
Post by: rse on Oct 14, 2006 at 03:13 AM
rse, Dave also got the CineFilipino disc. Maybe I'll ask him again to be sure if he didn't get the epilogue. It was titles inserted into the ending, right?
The epilogue is inserted near the very end, immediately following the scene where Charito Solis is taking some prescription medicines while looking at herself on the mirror. The epilogue is basically fairy tale closures to the lives of all the major characters in the film.
Immediately after it comes the scene where William Martinez is asking an old man for some water to wash his face with. The rest is as it is as I've originally seen from a Cinema One tape.
Post by: keating on Oct 14, 2006 at 12:22 PM
And again, Bernal doesn't want a happy ending for his masterpiece.
Noel can you please review again Pio de Castro's SOLTERO?
Post by: Noel_Vera on Oct 15, 2006 at 03:52 PM
The short that preceded the film was funny; it was this macabre little piece about a family where the tradition was that the father shoots the son in some visible part of the body, preferably leaving matching scars. We see bullet holes in the cheeks, shoulders, hands, so on and so forth. Nice little short.
Then Insiang opens, and Ruel Vernal as Dado plunges his knife into a pig's throat, loosing a gout of blood. The short sure looked pretty silly after that.
Post by: Noel_Vera on Oct 18, 2006 at 01:44 PM
Post by: jdv1229 on Oct 18, 2006 at 09:58 PM
Post by: oggsmoggs on Oct 19, 2006 at 12:46 PM
Post by: oggsmoggs on Oct 21, 2006 at 01:20 PM
Post by: keating on Oct 21, 2006 at 06:57 PM
the turnout was unexpected. i mentioned to Noel that the NYFF retrospectives attract a bigger crowd mostly film enthusiasts which really didn't surprise me. what's amazing is that most of the people who attended the screening of Insiang were mostly caucasians. there were very few Filipinos. Ruby Tiong Tan, the films' producer was present there along with Fiel Zabat who did the films' production design work. it was like watching the film all over again. the print, courtesy of the CCP had brand-new subtitles. Conrado Baltazar's camerawork captured the stench of the Tondo slums. Mona Lisa's performace is one for the books. i personally think that she's way better than Hilda Koronel. Vincent Nebrida who was responsible for everything did all this for his good friend Manunuri Hammy Sotto who passed away five years ago. it's also been fifteen years since Lino Brocka's death, Insiang's inclusion in the festival is a testament to his genius.
Wow, that was such a treat! Watching INSIANG again with brand new subs.
CINEMANILA is preparing a restrospective of master filmmaker Lino Brocka's works next month.
Post by: oggsmoggs on Oct 22, 2006 at 01:13 PM
Post by: rse on Oct 23, 2006 at 11:19 PM
Surprisingly I liked Sister Stella L better this time around. I remember watching it from a tape from Cinema One and I wasn't that impressed. I really like the soundtrack. I don't know if it's available somewhere.
BTW I have a question about the Scorpio Nights DVD. I already have the VCD. How's the video quality of the DVD version? Is it uncut? Is it worth buying to replace my VCD-version?
Post by: oggsmoggs on Oct 24, 2006 at 09:56 PM
Post by: jdv1229 on Oct 25, 2006 at 12:15 AM
I've recently bought the DVD of Sister Stella L. The transfer is disappointing and there are no English subtitles. There are previews of forthcoming movies before the main feature and the most annoying thing is that you can't skip them.
Surprisingly I liked Sister Stella L better this time around. I remember watching it from a tape from Cinema One and I wasn't that impressed. I really like the soundtrack. I don't know if it's available somewhere.
BTW I have a question about the Scorpio Nights DVD. I already have the VCD. How's the video quality of the DVD version? Is it uncut? Is it worth buying to replace my VCD-version?
it's the same as the VCD version. unfortunately regalfilms.com got rid of all the VHS tapes they had in stock, so there's no chance of obtaining the full version of Scorpio Nights, it was exactly the same one that Trigon Home Video released in the late 80's.
Post by: Noel_Vera on Oct 25, 2006 at 02:36 AM
And check out my first real post there: an account of what happened at the Imaginasian Filipino Film Festival. (http://criticafterdark.blogspot.com/2006/10/imaginasian-film-festival-in-new-york.html)
So long, and see you there...
Post by: rse on Oct 25, 2006 at 10:13 PM
it's the same as the VCD version. unfortunately regalfilms.com got rid of all the VHS tapes they had in stock, so there's no chance of obtaining the full version of Scorpio Nights, it was exactly the same one that Trigon Home Video released in the late 80's.
Hi Jojo,
I have the VHS copy of Scorpio Nights as well but the copy that I have is a re-released version that I bought fairly recently (3-5 years ago I think) when I was on vacation there. I haven't seen that VHS though because that same year I was able to buy the VCD version so I brought the VCD here instead and left the VHS in Manila. So you think that version is uncut? I should bring that her then the next time I go on vacation ;D
BTW I can't post anonymously to your blog now. ;)
Cheers,
RSE
Post by: Noel_Vera on Oct 26, 2006 at 03:35 AM
Filipino films on DVD (http://criticafterdark.blogspot.com/2006/10/filipino-films-on-dvd.html)
Post by: jdv1229 on Oct 26, 2006 at 07:01 AM
Hi Jojo,
I have the VHS copy of Scorpio Nights as well but the copy that I have is a re-released version that I bought fairly recently (3-5 years ago I think) when I was on vacation there. I haven't seen that VHS though because that same year I was able to buy the VCD version so I brought the VCD here instead and left the VHS in Manila. So you think that version is uncut? I should bring that her then the next time I go on vacation ;D
BTW I can't post anonymously to your blog now. ;)
Cheers,
RSE
the regal vhs release was uncut... better bring your copy kasi the existing master they used to transfer the movie to VCD & DVD are the ones na may cuts during it's regular run at the Film Center. it was only during the first two days of showing ipinalabas ang full version ng Scorpio Nights...
don't post annonymously, they don't allow it sa beta blogger... nami-miss ko ang mga comments mo...
Post by: oggsmoggs on Oct 26, 2006 at 08:36 PM
Post by: Noel_Vera on Oct 27, 2006 at 04:33 AM
Post by: wedge on Oct 27, 2006 at 05:20 AM
Post by: Noel_Vera on Oct 27, 2006 at 08:40 AM
Post by: wedge on Oct 27, 2006 at 09:34 AM
Itim is somewhat blunt on its use of atmosphere and milieu.
Post by: Noel_Vera on Oct 27, 2006 at 11:12 AM
Kisapmata's use of atmosphere isn't as intense--how much atmosphere can you squeeze out of a simple '50s style house? But that's the nightmare of it--it's an everyday house, with everyday people in it. But one of them's a mosnter.
Post by: oggsmoggs on Oct 27, 2006 at 03:08 PM
Post by: Noel_Vera on Oct 28, 2006 at 12:19 AM
Post by: Noel_Vera on Oct 28, 2006 at 12:22 AM
Post by: oggsmoggs on Oct 28, 2006 at 12:34 AM
Excellent, oggs--and you made me eat my words regarding the film's atmosphere. I suppose I should have said Itim makes more marked use of light and shadow, as befits a gothic drama, while Kisapmata creates the horror-film feel out of more everyday lighting and settings.
I think Kisapmata is simply less flashy; showing a more matured de Leon acknowledging that austere methods can top what he's done using hair-splitting technical expertise in Itim. I thought the dream sequences were less visually dazzling but far more effective in Kisapmata, particularly the first one wherein the film stock suddenly and seamlessly becomes black and white revealing Mila descending a flooded staircase to confess to her father (I thought that dream sequence beat any of the Catholic manifestations de Leon had in Itim, and is evidently creepier and eerier).
Post by: marj on Oct 30, 2006 at 09:46 AM
the regal vhs release was uncut... better bring your copy kasi the existing master they used to transfer the movie to VCD & DVD are the ones na may cuts during it's regular run at the Film Center. it was only during the first two days of showing ipinalabas ang full version ng Scorpio Nights...
don't post annonymously, they don't allow it sa beta blogger... nami-miss ko ang mga comments mo...
The excised sequences from the DVD version are found in "Sizzling Sex Scenes" released by Regal.
Post by: rse on Oct 31, 2006 at 01:59 AM
Post by: Noel_Vera on Oct 31, 2006 at 06:52 AM
Gerardo De Leon: Two vampire films (http://criticafterdark.blogspot.com/2006/10/gerardo-de-leon-two-vampire-films.html)
Post by: oggsmoggs on Oct 31, 2006 at 06:31 PM
Post by: Noel_Vera on Oct 31, 2006 at 06:48 PM
Post by: Noel_Vera on Nov 01, 2006 at 02:16 PM
Post by: oggsmoggs on Nov 01, 2006 at 08:04 PM
Post by: Noel_Vera on Nov 02, 2006 at 03:18 PM
Post by: oggsmoggs on Nov 02, 2006 at 10:20 PM
Post by: Noel_Vera on Nov 03, 2006 at 02:51 PM
I figure Brocka saw it was not impossible, and ran with that.
Post by: Noel_Vera on Nov 08, 2006 at 12:07 PM
Tatlong Taong Walang Diyos (Three Years Without God, 1976) film locations (http://criticafterdark.blogspot.com/2006/11/tatlong-taong-walang-diyos-three-years.html)
Post by: oggsmoggs on Nov 12, 2006 at 11:38 AM
Post by: keating on Nov 14, 2006 at 11:21 AM
CELSO AD CASTILLO- experimental
PEQUE GALLAGA- technical expert
MARIO O'HARA- careless but deep
Post by: Noel_Vera on Nov 14, 2006 at 12:52 PM
Post by: keating on Nov 15, 2006 at 08:54 PM
Post by: Noel_Vera on Nov 16, 2006 at 01:36 PM
Post by: jdv1229 on Nov 16, 2006 at 07:39 PM
Post by: Noel_Vera on Nov 17, 2006 at 06:06 AM
Post by: keating on Nov 17, 2006 at 12:35 PM
He cites VIRGIN FOREST as Peque's best work.....he shuns ORO PLATA MATA because of its commercial appeal.
Post by: Noel_Vera on Nov 18, 2006 at 06:42 AM
Saw Pinoy Blonde by the way. Eh. Stylish and expensive looking (I know, it's low budget) but I suppose not to my taste. Liked Big Time better, a little, and La Visa Loca a lot better.
Post by: keating on Nov 18, 2006 at 12:35 PM
He should have retained the original script when he wrote it during the time of Erap as VP when pagers where the latest craze instead of cellphones.
And yeah, he should also choose a good writer.
Post by: oggsmoggs on Nov 19, 2006 at 10:44 AM
Post by: Noel_Vera on Nov 19, 2006 at 03:05 PM
Post by: Noel_Vera on Nov 19, 2006 at 03:11 PM
Post by: Noel_Vera on Nov 24, 2006 at 07:12 AM
Bona (Lino Brocka, 1980) (http://www.criticine.com/review_article.php?id=17)
Excerpt:
Lino Brocka's Bona is possibly the least-seen of his major works, partly because the two remaining good prints of the picture had been squirreled away abroad (to the Cinematheque Francais and the New York Metropolitan Museum of Art) while Filipinos back home had to content themselves with fading recollections and equally faded Betamax tapes. Everyone remembers how powerful the film was; no one can rightly say they've actually seen it, at least in recent years.
It's exciting news to learn that Cinema One with the help of the Cinematheque is broadcasting a clear new video copy of Bona, one with French subtitles. For a new generation of viewers--one barely able to recognize the name of Brocka--this is a chance to finally see a famed classic; for those who remember the film from its Metro Manila Film Festival run this is a chance to update (and possibly destroy--but that's the risk of any revival) their Beta-assisted memories with freshly minted images. Whichever you are, veteran or innocent, even twenty-six years later there's much in the film that can still shock and appall.
Post by: oggsmoggs on Nov 26, 2006 at 06:56 PM
Post by: keating on Nov 29, 2006 at 06:54 PM
1. HIMALA
2. ORO PLATA MATA
3. BATCH 81
4. MANILA BY NIGHT
5. ORAPRONOBIS
6. SISTER STELLA L
7. SCORPIO NIGHTS
8. RELASYON
9. MORAL
10. BONA tied with KARNAL
Before we castigate and throw stones to these people, like where's KISAPMATA from the lists, the jurors defended the merits of each film and highlight the most memorable scene in each movie.
Nice lists actually, especially their choice of no. 2 and no. 7 spot. ;)
Post by: Noel_Vera on Dec 02, 2006 at 04:40 PM
What's (and Mike might ask the same question) Sister Stella L doing there?
Where's Kastilyong Buhangin, Bakit Bughaw, Condemned, Bulaklak sa City Jail, Bagong Hari, Init sa Magdamag Salome and Ang Magpakailanman on that list? Are they implying that Marilou is a better filmmaker than Laurice Guuillen?
Feh. This is why I don't respect lists by committees.
Being a Filipino film critic (http://criticafterdark.blogspot.com/2006/12/being-filipino-film-critic.html)
Post by: edsa77 on Dec 03, 2006 at 09:06 AM
Where's Kisapmata?
What's (and Mike might ask the same question) Sister Stella L doing there?
Where's Kastilyong Buhangin, Bakit Bughaw, Condemned, Bulaklak sa City Jail, Bagong Hari, Init sa Magdamag Salome and Ang Magpakailanman on that list? Are they implying that Marilou is a better filmmaker than Laurice Guuillen?
Feh. This is why I don't respect lists by committees.
Being a Filipino film critic (http://criticafterdark.blogspot.com/2006/12/being-filipino-film-critic.html)
mas questionnable pag isang tao lang ang gumawa ng list..ex. derek malcolm and his penchance for socially relevant films..hndi lang isang critic ang may authority sa kagalingan ng mga pelikula..dapat yang mga list list na yan..consensus ng maraming taong eksperto sa pelikula..
noel vera putting 3 taon as his best filipino film made will always remain debatable...how about lito zulueta's best? sottos? arcellana's? or tejero's?
yes...laurice is better than marilou..way way better...
Post by: edsa77 on Dec 03, 2006 at 09:13 AM
Lav Diaz on Castillo, Gallaga & O'Hara:
CELSO AD CASTILLO- experimental
MARIO O'HARA- careless but deep
neighbors ko tong 2 dito sa makati..hehe..
Post by: Noel_Vera on Dec 03, 2006 at 10:26 AM
A personal list has the man's prejudices but also his insight; if you're familiar with the listmaker, you know where he's coming from. You also know what he (or she) has to offer.
I've said this before, but I always liked Sight and Sound's lists--not because they have a greatest of all times list (I think that list is useless, except as an indicator of what's fashionable, not of what's actually good), but because they include the list of everyone who contributed. Now those lists are interesting.
I don't look to lists to tell me what movies I should consider great. I look to them for titles I might want to see myself. The more personal lists and the more varied they are, the better.
Post by: keating on Dec 03, 2006 at 01:05 PM
Post by: oggsmoggs on Dec 04, 2006 at 08:26 PM
Post by: daigoro on Dec 07, 2006 at 10:18 AM
Post by: Noel_Vera on Dec 07, 2006 at 02:39 PM
Post by: oggsmoggs on Dec 07, 2006 at 08:15 PM
Post by: RMN on Dec 11, 2006 at 09:44 PM
Post by: oggsmoggs on Dec 14, 2006 at 11:51 AM
Post by: Noel_Vera on Dec 14, 2006 at 12:03 PM
Post by: oggsmoggs on Dec 14, 2006 at 12:38 PM
Good one, oggs. You should try his other genre benders--Babaing Putik, uh, El Kapitan (or it may be under another title), and Z Man.
I saw Ang Babaeng Putik and was really impressed by it; especially the first half when it was all mood and atmosphere. I have yet to see his older films.
Post by: keating on Dec 17, 2006 at 08:11 PM
It looks dated already. Saved by the music of the Apo Hiking Society which dominates most in the film still enjoyable if you want to dig those youth oriented flicks back in the early 80's. Cashing on the loveteam of Dina Bonnevie & Alfie Anido, the film also deals with life in college, early marriages and losing one's virginity. Its silly most of the times, I liked best the opening scene while the theme song was being played in the background.
The jeans worn by the cast is now long-forgotten. They should have used levis instead of Boogie jeans. ;D
Gosiengfiao knows always the pulse of the youth. From UNDERAGE & BEDSPACERS, he was always at his best capturing those scenes inside the college campus.
Imagine Mary Walter as a senior prostitute, the likes of Albert Martinez losing their virginity while the song "batang-bata ka pa" was being played in the background and the trio of Apo as your college buddies, it can only happen in the movies of Joey Gosiengfiao. ;D
Post by: keating on Jan 01, 2007 at 11:31 AM
"I liked ANG PAGDADALAGA NI MAXIMO OLIVEROS. Aureus got the milieu right! When MASAHISTA was offered to me, I said give it to Jeffrey and the others.
I will not give justice to it!"
;D
Post by: oggsmoggs on Jan 03, 2007 at 11:35 PM
Post by: keating on Jan 06, 2007 at 02:11 PM
Three Brocka proteges in one film, Salvador, Koronel and Roco. The result is just your average Filipino film but still manage to raise the standard but not on the league of Brocka's best (MAYNILA SA KUKO NG LIWANAG, ORAPRONOBIS, INSIANG, BONA).
Philip Salvador after robbing a bank trek to the countryside in the forest to hide with him half a million worth of cash together with his fiancee prostitute, Hilda Koronel, and best friend Bembol Roco. Don't be fooled by the title, Conrado Baltazar's stunning cinematography is still worth to look at!
Post by: keating on Jan 06, 2007 at 02:54 PM
I liked the special effects especially the scene where the giants where wreaking havoc and attacking the town, very impressive. This type of scene alone can merit the artistic value of our filmmakers back in the 70's where CGI doesn't exist and became tiresome and pointless now in numerous Filipino films. From the music down to the cast, Borlaza scored a major breakthrough also in terms of camp value.
Too bad the showdown between X3X played to villain perfection by Helen Gamboa and Vilma Santos is too short. ;D
Post by: jdv1229 on Jan 08, 2007 at 07:48 PM
HAYOP SA HAYOP (Lino Brocka)
Three Brocka proteges in one film, Salvador, Koronel and Roco. The result is just your average Filipino film but still manage to raise the standard but not on the league of Brocka's best (MAYNILA SA KUKO NG LIWANAG, ORAPRONOBIS, INSIANG, BONA).
Philip Salvador after robbing a bank trek to the countryside in the forest to hide with him half a million worth of cash together with his fiancee prostitute, Hilda Koronel, and best friend Bembol Roco. Don't be fooled by the title, Conrado Baltazar's stunning cinematography is still worth to look at!
Hayop sa Hayop was just an average Brocka film but it's still notches above other Filipino movies. it was severely censored at the time it was shown, that's probably the reason why it tanked at the box office. it was supposed to be Hilda's first foray into boldness.
Post by: keating on Jan 08, 2007 at 07:56 PM
Post by: jdv1229 on Jan 08, 2007 at 08:00 PM
It was Hilda's sexiest movie, more skin exposure than she did in INSIANG. Did they shot near Mt. Banahaw?
it is Hilda's most daring film... i'm not sure where they shot it but definitely not in Lucban, Quezon.
Post by: keating on Jan 08, 2007 at 08:08 PM
Post by: jdv1229 on Jan 08, 2007 at 08:09 PM
Post by: keating on Jan 08, 2007 at 08:13 PM
I can't imagine him directing Gallaga's SCORPIO NIGHTS.
Post by: jdv1229 on Jan 08, 2007 at 08:17 PM
Post by: keating on Jan 09, 2007 at 03:28 PM
I only discovered now the encounter between William Martinez & Emily Loren in the PRIDYIDER episode of SRR fully intact that I missed in 1984. :o
Post by: Noel_Vera on Jan 13, 2007 at 09:51 AM
Post by: Noel_Vera on Jan 13, 2007 at 09:59 AM
Post by: keating on Jan 13, 2007 at 01:40 PM
HINUGOT SA LANGIT didn't found its audience because of the subject matter it tackles......abortion which our society still condemns up to now.
Post by: butsoy on Jan 13, 2007 at 10:24 PM
CineFilipino DVD Release of Manila By Night
Ishmael Bernal
(This is a review of the DVD release, not the movie since we all know how great this movie is anyway.)
I’ve seen Manila By Night before on a taped TV broadcast from Cinema One. When I heard that it will finally be released on DVD I got very excited. Wow! Finally they’re releasing (real) Filipino classics on DVD! Kudos to CineFilipino for doing this. I can’t wait for it to become the Philippine version of Criterion Selection.
Anyway back to the DVD. The DVD contains I think the most complete version of the movie. All the profanity and sex scenes are all intact. The transfer disappointingly is almost the same quality as the one they show in Cinema One. I don’t think this has been remastered at all. It’s in 1.33:1 aspect ratio but I guess it might be its original aspect ratio. A major plus is the inclusion of English subtitles. The special features are nothing to talk about: just upcoming releases and a short text about the movie.
The major thing that disappointed me with this release is the inclusion of a weird ending where there was a voiceover explaining what happened to each of the characters of the movie. It was very lame and cheapens the movie (I guess this is the censored-version of the ending). While watching it I thought that heck they changed the ending of the movie. Immediately after this ending, the real ending follows (the same ending they had in Cinema One). The guys from CineFilipino should have cut that and put in the special feature as an alternate ending.
Yeah. I agree. Pang-comedy yung dating ng voiceover. Sana ginamit na lang nila yung ginagamit na voiceover sa mga Massacre movies ni Carlo J. Caparas... That voice frightens me! :o
Post by: keating on Jan 14, 2007 at 07:10 PM
Where they screened in festivals abroad?
Post by: jdv1229 on Jan 14, 2007 at 10:32 PM
Post by: rse on Jan 17, 2007 at 12:46 AM
Post by: oggsmoggs on Jan 23, 2007 at 08:53 AM
Post by: oggsmoggs on Jan 25, 2007 at 01:24 PM
Post by: oggsmoggs on Jan 29, 2007 at 12:10 AM
Post by: Noel_Vera on Jan 29, 2007 at 09:52 AM
Post by: oggsmoggs on Jan 29, 2007 at 10:58 AM
It's a coldish film, and that monologue about war doesn't seem to connect to anything (what do we have to do witht the Iraq war?). But it's beautifully photographed and hypnotically paced. The INS officer, of course, is the death figure in Seventh Seal.
I agree. I thought the Seventh Seal scene was lovely; the film felt really theatrical in parts. I had a bit of trouble with all its allusions and symbolisms... felt like it wanted to go the Lynchian way but didn't have the guts to totally throw away narrative coherence. Still good though, I really felt the pain of the Filipino immigrant community.
Post by: RMN on Jan 31, 2007 at 01:12 PM
Manuel Conde's Pilipino Tradition--No Touch. Showing on Febuary 14 at the IndieCine, Robinsons Galleria.
Post by: oggsmoggs on Feb 01, 2007 at 03:51 PM
Post by: keating on Feb 05, 2007 at 02:37 PM
Lino was known for his generosity for his colleagues, so when he bumped with Joel one day borrowing P250.00, with his last money he gave Joel P500.00.
Weeks later, it was Brocka hysterically frantic calling Lamangan over the phone....."Joel kailangan ko ng pera, ako naman ang mapuputulan ng kuryente!"
;D
Post by: butsoy on Feb 05, 2007 at 08:18 PM
Joel Lamangan remember fondly how the great Lino Brocka helped him when he has no dough during PETA days.
Lino was known for his generosity for his colleagues, so when he bumped with Joel one day borrowing P250.00, with his last money he gave Joel P500.00.
Weeks later, it was Brocka hysterically frantic calling Lamangan over the phone....."Joel kailangan ko ng pera, ako naman ang mapuputulan ng kuryente!"
;D
Did Joel Lamangan had a bit role in Brocka's "Macho Dancer"? Parang I saw him there eh.
Post by: keating on Feb 05, 2007 at 08:22 PM
Post by: Noel_Vera on Feb 08, 2007 at 12:28 PM
Post by: keating on Feb 08, 2007 at 06:07 PM
Andrew must be obsessed with Weng Weng or perhaps our own B-movies.
Post by: keating on Feb 13, 2007 at 08:50 PM
HINUGOT SA LANGIT (Ishmael Bernal, 1985)
Its easy to dismissed why this Bernal classic flop at the tills in 1985. Filipino moviegoers are not yet ready to see a movie about abortion being the predominantly Catholic nation. Bernal made movies larger than life (HIMALA, MANILA BY NIGHT, PAGDATING SA DULO). Maricel Soriano's breakthrough performance as Carmen Castro got respect from the critics. Her restrain, subdued characterization as Carmen Castro will always be remembered. Several competent supporting players shine also in this film notably the easy-going Amy Austria who will breakdown in the end, Dante Rivero and the late Charito Solis as the landlady of Soriano.
Ishmael Bernal like his rival Lino Brocka is a brave filmmaker who will always take a risk to show a very sensitive subject matter. If he is still alive, maybe Philippine Cinema will not reach its lowest point.
Post by: rse on Feb 15, 2007 at 03:44 AM
Post by: rse on Feb 15, 2007 at 03:50 AM
It's not bad at all but it's a very conventional and by-the-number biopic. Jacklyn Jose is so delightful though as Manny's mom.
Post by: Noel_Vera on Feb 15, 2007 at 04:27 AM
Tatlong Taong Walang Diyos (Three Years Without God, Mario O'Hara, 1976) (http://criticafterdark.blogspot.com/2007/02/tatlong-taong-walang-diyos-three-years.html)
Post by: keating on Feb 20, 2007 at 08:13 PM
Tata Esteban's cult classic ALAPAAP.
Post by: keating on Feb 20, 2007 at 08:14 PM
Scenes from ALAPAAP.
Post by: keating on Feb 20, 2007 at 08:15 PM
More scenes from ALAPAAP.
Post by: oggsmoggs on Feb 21, 2007 at 11:51 PM
Post by: oggsmoggs on Feb 22, 2007 at 01:46 PM
Post by: keating on Feb 24, 2007 at 01:14 PM
Mario O'Hara on the set of TATLONG TAONG WALANG DIYOS in Majayjay, Laguna with Bembol Roco, Nora Aunor and Christopher de Leon.
Post by: jdv1229 on Feb 25, 2007 at 09:17 PM
Post by: keating on Feb 25, 2007 at 09:20 PM
BTW, the Blas of Lea Prods have relatives here in our hometown, should get in touch real soon to find out if some of their films still exists including Brocka's SANTIAGO.
Post by: jdv1229 on Feb 25, 2007 at 09:31 PM
Aling Miling's relatives? hope they have an idea on where prints or copies of their films are
Post by: keating on Feb 25, 2007 at 09:34 PM
But I believe most of their prints have been left in that theatre that they owned. It was demolished already ten years ago.
Post by: jdv1229 on Feb 25, 2007 at 09:52 PM
Post by: keating on Feb 25, 2007 at 09:58 PM
Post by: jdv1229 on Feb 25, 2007 at 10:11 PM
Post by: keating on Feb 25, 2007 at 10:20 PM
Post by: jdv1229 on Feb 26, 2007 at 09:46 AM
Post by: keating on Mar 05, 2007 at 02:23 PM
Tangna, ganda!
Too bad I'm only discovering now the films of Manong Gerry. Next on my watch list: BLOOD OF THE VAMPIRES.
Post by: Noel_Vera on Mar 05, 2007 at 04:21 PM
Post by: keating on Mar 05, 2007 at 04:26 PM
Post by: jdv1229 on Mar 05, 2007 at 07:29 PM
Post by: keating on Mar 05, 2007 at 07:37 PM
Those monochrome colors and shots add vitality to the film. And Mary Walter is still creepy as ever.
Post by: jdv1229 on Mar 05, 2007 at 07:40 PM
Post by: keating on Mar 05, 2007 at 07:43 PM
I think the dubbing was so realistically done. ;D
Post by: jdv1229 on Mar 05, 2007 at 07:48 PM
Post by: keating on Mar 05, 2007 at 07:53 PM
Post by: jdv1229 on Mar 05, 2007 at 08:04 PM
Post by: keating on Mar 05, 2007 at 08:07 PM
And the zombies, man. When the dead parents of Amalia started to visit her......... :o
Post by: jdv1229 on Mar 05, 2007 at 08:10 PM
Post by: keating on Mar 05, 2007 at 08:14 PM
Post by: keating on Mar 05, 2007 at 08:19 PM
One of the stunning breathtaking scenes in Gerry de Leon's KULAY DUGO ANG GABI. Photo taken from Noel Vera's blog. A more detailed, comprehensive and excellent review can be found in Noel Vera's blog in CRITIC AFTER DARK.
Post by: jdv1229 on Mar 05, 2007 at 08:21 PM
Post by: keating on Mar 05, 2007 at 08:25 PM
Post by: keating on Mar 05, 2007 at 08:27 PM
The opening credit sequence in Gerry de Leon's KULAY DUGO ANG GABI. Photo taken from Noel Vera's blog.
Post by: keating on Mar 05, 2007 at 08:30 PM
Ronald Remy as Dr. Marco the Count Dracula. Photo taken from Noel Vera's blog.
Post by: keating on Mar 05, 2007 at 08:35 PM
Another awesome shot in KULAY DUGO ANG GABI with Celia Rodriguez. Photo taken from Noel Vera's blog.
Post by: Noel_Vera on Mar 06, 2007 at 04:38 PM
Maybe the finest sequence in the film is the funeral. Very moving.
Post by: telonistas on Mar 06, 2007 at 07:00 PM
Post by: Noel_Vera on Mar 07, 2007 at 01:22 PM
Post by: keating on Mar 07, 2007 at 07:09 PM
The colors are so effective that evokes dread and unsettling atmosphere.
Post by: telonistas on Mar 09, 2007 at 12:10 PM
http://www.bleedingskull.com/dvd/blooddrinkers.html
excerpt:
De Leon melds duotoned blues and reds with full color, often without cuts and seemingly as reactions to the film, both literally and figuratively. The changes in tint seem to be mostly arbitrary, but there are definite instances of intended change (the opening of undead eyes, a vampire’s appearance). The result is like the inking scheme of a comic book, but infinitely more elegant; exciting eye candy and smart compositions, regardless of any subtextual meaning. When you combine that impressive style of filmmaking with post-dubbing, atmosphere drenched sets, and old fashioned Universal thrills, you get a mysterious film that’s hard to peg down, but always inviting.
Film Credits: KULAY DUGO ANG GABI a.k.a The Blood Drinkers(U.K.) / The Vampire People(U.S.)
Dir: Gerardo De Leon
Prod: Cirio H. Santiago
Sc: Cesar Amigo
Ph: Felipe Sacdalan
Ed: Salvador
Art: Ben Otico
Sfx: Hilario Bros.
Mus: Tito Arevalo.
Cast: Amelia Fuentes, Ronald Remy, Eva Montez, Eddie Fernandez, Celia Rodriguez, Paquito Salcedo
Post by: keating on Mar 09, 2007 at 05:32 PM
If you dig those vampire flicks in the 50's and 60's you shouldn't miss this Gerry de Leon horror masterpiece.
More pics from the movie. Thanks to bleedingskull.com and the link from telonistas.
(http://i103.photobucket.com/albums/m132/keating_01/BloodDrinkers2.jpg)
(http://i103.photobucket.com/albums/m132/keating_01/BloodDrinkers3.jpg)
Jeez, bless Sam Sherman who discovered this film apparently in 35 mm film cans! :o
(http://i103.photobucket.com/albums/m132/keating_01/BloodDrinkers4.jpg)
(http://i103.photobucket.com/albums/m132/keating_01/BloodDrinkers5.jpg)
Post by: Noel_Vera on Mar 10, 2007 at 04:44 PM
Post by: keating on Mar 11, 2007 at 04:52 PM
Post by: keating on Mar 11, 2007 at 05:16 PM
PAHIRAM NG ISANG UMAGA (Ishmael Bernal, 1989)
Ishmael Bernal tackled death humorously in his stunning film debut PAGDATING SA DULO. Subas Herrero ask the dimwit actress Paloma Miranda played by Rita Gomez why she speak so fast, her snappy reply......"maikli ang buhay!" Same line would figure in most Bernal flicks but in a more serious way in NUNAL SA TUBIG, MANILA BY NIGHT, HIMALA & HINUGOT SA LANGIT, films that are undoubtedly among his best. Death strikes like a thief in the night. Who would know that the man would meet his Creator on June 2, 1996 seven years after the release of PAHIRAM NG ISANG UMAGA.
One of the best melodramas churned out by Regal Films in a cycle of three years which started in 1987-1989. Bernal worked with three cinematographers and the result is a gorgeous cinematography that deals with mortality and death. Vilma Santos is a successful career woman who must accept her fate that she has 8 months to live because of brain cancer, prepare her will, attend her father's funeral and reconcile with her sister-in-law. Symbolisms abound just like in any other Bernal flicks. Watch out for Eric Quizon as the tormented artist who wanted to end his life. Its moving, touching and yes it teach us about loving and caring. The long-tracking crane shot near the end of the film is unforgettable and grabs you long after you've seen the film.
Post by: Noel_Vera on Mar 12, 2007 at 12:19 PM
Post by: Noel_Vera on Mar 12, 2007 at 12:20 PM
Post by: keating on Mar 12, 2007 at 08:14 PM
Bernal always craft melodramas that will not insult your sensibilities. And yes, better than WATING.
Post by: Noel_Vera on Mar 13, 2007 at 12:52 AM
Post by: jdv1229 on Mar 13, 2007 at 07:23 AM
Post by: Noel_Vera on Mar 13, 2007 at 08:39 AM
Post by: jdv1229 on Mar 13, 2007 at 09:59 AM
Post by: Noel_Vera on Mar 13, 2007 at 12:16 PM
Post by: keating on Mar 13, 2007 at 03:15 PM
Ruffa Gutierrez delivered well but most of the times she was at her constipated best, probably because of her language, slang na slang. But between her and Kris, I would choose Ruffa anytime in terms of acting.
Post by: Noel_Vera on Mar 14, 2007 at 01:27 PM
She's no actress, but I thought she did okay here.
Post by: keating on Mar 14, 2007 at 07:20 PM
Post by: RMN on Mar 16, 2007 at 05:33 PM
Post by: keating on Mar 16, 2007 at 07:49 PM
Gosiengfiao can turn into serious.... those court room scenes in most number of his films from EXPLOITATION, MORTAL SIN, WHERE LOVE HAS GONE begs you to understand his craft, the other world of Philippine Cinema. And yes, Mark Gil once said.....his movies have sense!
BABAE...NGAYON AT KAILANMAN the omnibus trilogy is still on my watch lists to watch it in full uncut glory. The Juego de Prenda episode is so dreamy and memorable that stucked on my mind during my childhood days. Alma Moreno's filmography will not be complete without mentioning NYMPHA, BOMBA STAR, DIARY OF CRISTINA GASTON, SECRETS OF PURA. All dealing with feminist issues.
Post by: jdv1229 on Mar 16, 2007 at 08:03 PM
Post by: keating on Mar 16, 2007 at 08:07 PM
Regal Films owes Joey a big gratitude.
Post by: jdv1229 on Mar 16, 2007 at 08:10 PM
Post by: keating on Mar 16, 2007 at 08:19 PM
Its only now that TEMPTATION ISLAND has been recognized, one critic gush over it, Jessica Zafra also.
Post by: jdv1229 on Mar 16, 2007 at 08:24 PM
Post by: keating on Mar 16, 2007 at 08:30 PM
The cult classic UNDERAGE embodies teen-angst, sort of pop culture phenomenon before the BRAT PACK hit the mid-80's!
Post by: jdv1229 on Mar 16, 2007 at 08:40 PM
Post by: keating on Mar 16, 2007 at 08:45 PM
Post by: jdv1229 on Mar 16, 2007 at 09:01 PM
Post by: keating on Mar 16, 2007 at 09:09 PM
Only Joey Gosiengfiao could imagine......
Post by: jdv1229 on Mar 16, 2007 at 09:15 PM
Post by: keating on Mar 16, 2007 at 09:16 PM
The opening scene in BOMBA STAR where Marissa Delgado clutching her trophy and thanking some people was pure fun and hilarious also!
Post by: jdv1229 on Mar 16, 2007 at 09:24 PM
Post by: keating on Mar 16, 2007 at 09:29 PM
Aside from BABAE.....NGAYON AT KAILANMAN, did he made a horror film?
Post by: jdv1229 on Mar 16, 2007 at 09:35 PM
Post by: keating on Mar 16, 2007 at 09:36 PM
Post by: jdv1229 on Mar 16, 2007 at 09:42 PM
Post by: keating on Mar 16, 2007 at 09:47 PM
Have you seen UNDERAGE recently, Jo?
Post by: jdv1229 on Mar 16, 2007 at 09:54 PM
Nympha was heavily censored during it's theatrical run as well..
Post by: keating on Mar 16, 2007 at 09:57 PM
Post by: jdv1229 on Mar 16, 2007 at 10:01 PM
Post by: keating on Mar 16, 2007 at 10:04 PM
Post by: jdv1229 on Mar 16, 2007 at 10:11 PM
Post by: keating on Mar 16, 2007 at 10:16 PM
How will ELEKTRIKA fare if it was made by Gosiengfiao? LOL! ;D
Post by: jdv1229 on Mar 16, 2007 at 10:24 PM
maybe films' look would've been different...
Post by: keating on Mar 16, 2007 at 10:31 PM
Post by: jdv1229 on Mar 16, 2007 at 10:33 PM
Post by: keating on Mar 16, 2007 at 10:34 PM
Post by: jdv1229 on Mar 16, 2007 at 10:36 PM
Post by: keating on Mar 16, 2007 at 10:38 PM
Post by: jdv1229 on Mar 16, 2007 at 10:41 PM
Post by: keating on Mar 16, 2007 at 10:43 PM
Post by: jdv1229 on Mar 16, 2007 at 10:44 PM
Post by: keating on Mar 16, 2007 at 10:46 PM
Post by: jdv1229 on Mar 17, 2007 at 01:13 AM
Post by: Noel_Vera on Mar 17, 2007 at 01:09 PM
He's butted heads with both Lav and Jeffrey, Lav over Batang West Side, Jeffrey over Tuhog. I know Lav said a few words about Joey's passing, so I assume he's forgiven him; I haven't seen anything from Jeffrey yet, but I might have missed it.
Post by: keating on Mar 19, 2007 at 12:12 PM
Post by: Noel_Vera on Mar 19, 2007 at 05:41 PM
Post by: oggsmoggs on Mar 20, 2007 at 12:08 PM
Post by: keating on Mar 20, 2007 at 07:38 PM
But then, it was Joey who gave Jeffrey his first full-length feature via SANA PAG IBIG NA.
Jojo can you list the complete filmography of Joey Gosiengfiao?
Post by: jdv1229 on Mar 21, 2007 at 06:23 AM
Post by: keating on Mar 21, 2007 at 12:59 PM
Post by: keating on Mar 22, 2007 at 08:41 PM
ANG TATAY KONG NANAY (Lino Brocka, 1978)
The comedy king gives his most brilliant portrayal as a gay beautician who adopted a son from his nephew. Dolphy gives the homosexuals a good name, even better than his portrayal of Markova. The former child wonder, Nino Muhlach acts sensitively. The scene inside the taxi where the picture of Philip Salvador was thrown outside will certainly cause you uproarious laughter. The monologue of Dolphy near the finale is the best reason why comedy flicks are always underrated.....a classic scene.
Post by: keating on Mar 22, 2007 at 08:56 PM
DALAWANG PUGAD....ISANG IBON (Ishmael Bernal, 1977)
Intelligent, entertaining and cinematic. Three words that best described a film by Ishmael Bernal. Bernal turned this film the other way around, sort of his homage to feminist angst. Vilma Santos is torn between her real ex-flame from the 70's, Romeo Vasquez and Mat Ranillo III. The two men shacks up with other women, much to the confusion of Vilma who must choose between the two. Its like a Fellini film, symbolisms and metaphors abound especially about love and relationships. The late Mary Walter adds another unforgettable character in her filmography as the grandma of Vilma. Can be seen back-to-back with Bernal's SALAWAHAN if you are looking for a great film about love and relationships. The situations are believable, still true up to now!
Post by: Noel_Vera on Mar 23, 2007 at 03:10 AM
Post by: keating on Apr 01, 2007 at 05:34 PM
One of the film industry's earliest feminist achievements. Bernal focus on a group of women peddling pleasure and their dreams, hope and aspirations. Amy Austria, Suzette Ranillo and Lorna Tolentino are excellent as prostitutes set in the club and bars of red light district in Pasay City. Once again, the film maestro got the milieu right. Restrain, departs from the usual melodramatic exposition of Filipino films dealing with the oldest profession. Austria gives a wacky performance as the wisest among the three prostitutes as she sells goods, picks her customers mostly Japanese only and collect service tax and bar fine. Watch out for the scene inside the Baclaran church where the good time girls pray for hope and survival.
Post by: RMN on Apr 02, 2007 at 05:52 PM
I dunno...
Post by: keating on Apr 02, 2007 at 07:26 PM
BONA (Lino Brocka, 1980)
I was simply stunned with the pristine quality of the print that Cinema One got from Cinematheque in France, with French subtitles, widescreen format, it purely preserves the original color and sound this movie highly deserves! Still pack an intensity and great acting between Philip Salvador and Nora Aunor. Conrado Baltazar's cinematography captured efficiently the atmosphere of the slums area. No doubt the much talked about hot boiling water scene during the finale still warrant your attention and why Nora is at her best when angry.
Post by: jdv1229 on Apr 04, 2007 at 09:07 PM
Post by: keating on Apr 04, 2007 at 09:09 PM
Baltazar's cinematography in BONA was superb! How did they transferred it to widescreen version?
Post by: jdv1229 on Apr 04, 2007 at 09:14 PM
Post by: keating on Apr 04, 2007 at 09:20 PM
Post by: jdv1229 on Apr 04, 2007 at 09:25 PM
Post by: keating on Apr 04, 2007 at 09:29 PM
Lino Brocka is really the heart of filmmaking in Philippine Cinema.
Post by: jdv1229 on Apr 04, 2007 at 09:30 PM
Post by: keating on Apr 04, 2007 at 09:37 PM
Post by: jdv1229 on Apr 04, 2007 at 09:42 PM
Post by: keating on Apr 04, 2007 at 09:47 PM
But I sympathize with her, man. ;)
Post by: jdv1229 on Apr 04, 2007 at 09:52 PM
Post by: keating on Apr 04, 2007 at 09:59 PM
Post by: jdv1229 on Apr 04, 2007 at 10:06 PM
BONA
Source: Lino Brocka - The International Director, Agustin L. Sotto
"Jaguar's" success was too good to ignore. There was talk of producing another film for the Cannes festival. However, Lino had a falling-out with Jackie Atienza and had to look for other financiers.
At that time, he was having an "affair" with Nora Aunor, then the nation's top star whom he used to criticize for stealing from his film company --- and eventually marrying --- his protégé, Christopher de Leon. Because of his financial problems, he was forced into directing the superstar in two commercial films, "Ina Ka ng Anak Mo" and "Nakaw na Pag-ibig". He was amazed with her brilliance as an actress and, if there was one thing that obsessed Lino, it was acting ability. He forgot about his gripes and embraced Nora as his Galatea. The two decide to make a film that would be Lino's next Cannes entry.
Because of the publicity generated by the shooting of "Apocalypse Now" and partially by Lino's films, the Philippines was fast becoming a popular destination for many international filmmakers. Vilgot Sjoman, the director of "I Am Curious (Yellow), the scandal films of the sixties, decided to shoot "I Am Blushing" with Bibi Andersson. Lino was invited to meet the Swedish actress in the house of Hortensia Starke in White Plains. There, he witnessed an incident that was to become the inspiration for "Bona". A movie fan had related to Bibi Andersson so many details of her life and films that made her absolutely flabbergasted. "I didn't go halfway around the world to know that my life was being closely followed. Why, even the tiff that I had forgotten, he knew," she later confided to Lino.
The incident rankled in Lino's mind for weeks. He just had to make a film about it. He had earlier directed a teleplay written by Cenen Ramos with the same theme. He decided to use that as basis for "Bona". Although the first days of shooting ran smoothly, the production encountered numerous problems. Nora Aunor started to come late and sometimes, did not appear at all. Also, the cast and crew were not being paid on time. Lino decided to borrow money so that he could finish the film. In order to wrap up the shooting, he skipped some sequences.
The film was entered in the Metro Manila Film Festival. Perhaps because of the attendant publicity, it was a big let-down to some people. It was promptly savaged by Lino's detractors who waited for the opportunity to bring him down. Nora Aunor did not win the much- coveted award for best actress. This created some friction between the two.
Bringing the film to Cannes was another problem. Lino was deep in debt due to the bankruptcy of CineManila, the film company he set up with his friends, and could not afford the expenses of a Cannes exposure. Happily, Jorg Richter, formerly Klaus Hellwig's assistant in Janus Films, decided to set up his own film distribution outlet and chose "Bona" as his first film. He advanced the money for a clean print and other expenses that Lino would incur in his trip.
But this was simply the start of the nightmare. The negative cutting was, to say the least, a disaster. Someone at the local lab had only used masking tape to splice the ends together. In its state, it could easily be rejected by prospective buyers, especially by European television which demands high quality prints. It had to be reedited in Paris --- which meant more expenses.
Also it arrived late in Cannes. It barely missed the competition deadline. There was one slot left with three qualified films vying for it. The Cannes committee decided to give it to "Montenegro", the film of comebacking Yugoslavian director, Dusan Makaveyev, who had not made one in ten years. The other film scratched from the competition was Lester James Peries' "Badeggamma" from Sri Lanka.
So Lino was back at the Directors' Fortnight. The film was shown at Star theater, a medium-sized moviehouse at the back of the Grand Palais. In his speech before his audience, Lino said he was happy to be back at the Fortnight; he preferred a screening where there weren't many frills.
Nora Aunor also traveled to Cannes with her confidante Baby K. Jimenez and Bibsy Carballo. Although Nora and Lino were cordial to each other, they were not as close as before. Nora and her entourage stayed in the luxurious Gray D'Albion. Lino's group, as usual was billeted in a rented apartment at 71 Rue Clemenceau, though not as far as before.
On the afternoon of the screening, Nora Aunor was introduced to the Cannes public. She was dressed in a terno. This time, there was a smattering of Filipinos in the audience. Her adoring fans presented her with flowers.
This time, Lino's schedule was not as hectic. He made the acquaintance of a Filipino couple who was taking care of Roger Moore's villa. With their help, Lino and company managed to make a tour of the French Riviera. Highlight was a stopover at Saint-Tropez where the group ogled at sun-bathing nudists.
Post by: jdv1229 on Apr 04, 2007 at 10:11 PM
What happened with Dexter Doria's character? Did Lino booted her out? The Cinema One copy with French subs was the same that they shown at the Cannes filmfest and 1980 MMFF?
they had to reshoot the same scene but Dexter was pregnant that time that's when Raquel Montessa stepped in...
Post by: keating on Apr 04, 2007 at 10:13 PM
Post by: jdv1229 on Apr 04, 2007 at 10:15 PM
Post by: keating on Apr 04, 2007 at 10:19 PM
Post by: jdv1229 on Apr 04, 2007 at 10:21 PM
Post by: keating on Apr 04, 2007 at 10:24 PM
Post by: jdv1229 on Apr 04, 2007 at 10:26 PM
Post by: keating on Apr 04, 2007 at 10:28 PM
Post by: jdv1229 on Apr 04, 2007 at 10:33 PM
Post by: keating on Apr 04, 2007 at 10:39 PM
Conrad Poe was booted out already from the FPJ archives.
Post by: jdv1229 on Apr 04, 2007 at 10:43 PM
Post by: keating on Apr 04, 2007 at 10:49 PM
Post by: jdv1229 on Apr 04, 2007 at 10:51 PM
Post by: jdv1229 on Apr 04, 2007 at 10:55 PM
Post by: keating on Apr 04, 2007 at 10:57 PM
Post by: jdv1229 on Apr 04, 2007 at 10:57 PM
Isagani R. Cruz, TV Times, January 4-10, 1981, also Movie Times
There are several marvelous sequences in Lino Brocka's Bona (1980), but the trouble is that these sequences have nothing to do with the story of the film. In fact, the sequences in the film may be roughly classified into those unnecessary ones which are well-done, those necessary ones which are not well-done, those few well-done sequences which is also happens to be necessary.
Take, for example, the scenes showing Nora Aunor going to the neighborhood faucet to get water for her idol Phillip Salvador. The scenes occur again and again in the film, almost like commas in a long, convoluted sentence. Commas, however, serve at least to indicate pauses in thought; the water-fetching sequences serve merely to fill up the gaps in Brocka's imagination. One water sequence is enough, if all Brocka wants to say is that the poor have to spend all their time fetching water from the only running faucet in their neighborhood. The repetition is unnecessary, particularly because the blocking, the design, and the impact of each faucet scene are the same in all the shots. Nothing is gained by repetition.
The best sequences in the film involve Brocka's favorite topic: the life of the poor. In shot after shot, the life of the dispossessed is clearly delineated, from abortion (pre-life) to infancy to adolescence to ultimate death (the funeral scene which, by the way, is a repetition of Brocka's funeral scenes in his earlier films). But the problem is that the life of the poor has nothing to do with the story. Aunor will still have the same psychological problem and experience exactly the same shock at the end if Salvador were middle-class.
It is well and good to depict the life of the poor in our country. But the story should be about the poor. The story of Bona is about a rich man, although a rich man in a poor man's clothes. Salvador's motivations are nouveau riche. Particularly incredible as the action of a poor man is his penchant for being bathed by Aunor. (The scene, in fact, appears to be an adaptation of similar scenes in American films, with a batya replacing an American bathtub and a bucket of hot water replacing the hot water faucet.)
When Brocka handles a sequence which is necessary to the narrative, he fails to give it life. For example, crucial to the film is the first scene with Aunor boiling water. Brocka puts his camera in such a position that the viewer cannot see the pot of boiling water. Salvador, in fact, faces the table (and thus faces the right edge of the screen), while Aunor, her back turned to him, faces the invisible stove (and thus faces the left edge of the screen). Their turning their backs to each other may be significant, but only for two seconds. Since the shot is allowed by Brocka to take more than a full minute, the viewer is bored to death.
The only two sequences which are both well-done and necessary are the Raquel Monteza sequence and the final sequence. In one sequence, Aunor fights another woman (Raquel Monteza). The sequence begins inside the house, then spills over to the street. In this sequence, Brocka succeeds in integrating production design with narrative. Aunor, as she is in almost all the sequences, is excellent here. The viewer feels her rage at the challenge to her private world.
The final sequence, where Aunor finally assaults Salvador, is excellent, although it is, of course, in the same vein as Insiang. The typical Filipino film thrives on the theme of revenge. Bona is no exception. When Aunor finally dumps the boiling water on her non-feeling master, the viewer cannot help but be moved. The sequence is effective, perhaps because the rest of the film is not.
In the end, it it Aunor's acting which saves the film. Despite the incoherent screenplay, the erratic direction, and the irrelevant production design, the film is gripping because Aunor is excellent. Aunor is indeed a signal phenomenon in Philippine film. She broke the color barrier (she is not a mestiza). She broke the marriage barrier (she is not single, nor she is she even happily married). She broke the superstar barrier (before her, superstars were supposed to be beautiful, but not good, actresses). She has now broken the untouchable barrier: in Bona, she is subjected to the most degrading physical abuses. Unlike Hilda Koronel who remained a madonna even during the rape scene in Angela Markado. Aunor really becomes the penniless, dumb, neurotic alalay Bona is supposed to be. Who can imagine Fernando Poe, Jr. beaten to a pulp by nameless villains? Who can imagine Lloyd Samartino made up to look like a vampire? In Bona, Aunor really looks like an alalay, rather than a superstar. That is why she is, in fact, a superstar.
Post by: jdv1229 on Apr 04, 2007 at 11:01 PM
Post by: keating on Apr 04, 2007 at 11:02 PM
Post by: jdv1229 on Apr 04, 2007 at 11:05 PM
Elliot Stein (Village Voice) September 25, 1984 New York --- Film Forum
Much of Bona’s strength resides in the simplicity of its narrative. Nearly all of the main action is set in Tondo, except for a brief but significant and startling opening sequence in which Bona appears in the middle of a hysterical crowd during the yearly procession of the Black Nazarene, the most violent and fanatical public Catholic ceremony in Manila. It suggests that the Church encourages her mad love of God to a mad love of Gardo.
Brocka’s melodrama is firmly planted in reality. Scenes of social texture are short, but are beautifully etched --- in the space around the only water pump in the neighborhood, which serves as a sort of a village square (a village ankle-deep in sewage), the men spend their nights getting drunk and singing Beatle’s songs while the women pray to the Virgin. One of the many miracles of this superbly directed movie is the way --- with rapid unsentimental strokes --- Brocka demarcates Bona’s assimilation in the slum, where her warmth and natural affability find a welcome they had been denied in the anxious middle-class background she has abandoned.
Brocka is one of the most physical of directors. His films are full of scenes of people touching --- nervously, tentatively touching one another --- and his rapport with actors is tremendous. Nora Aunor is a special case --- she’s the Filipino’s favorite movie star, and more. Herself a slum child at 14, she won a singing contest and soon became a film personality, appearing in trivial, successful hit after hit; she now has her own weekly TV show. Aunor is a sociological phenomenon: the first dark-skinned superstar, idolized by the underclasses. Her fan’s devotion is unlimited. A score of them have come to live and work in her house as self-appointed servants. For many, she has the status of a saint. Her role in Bona in Brocka’s movie --- which she produced out of her own pocket in order to appear in a serious film --- is not unlike that of one of her own fan-servant-slaves.
Aunor’s co-star is no less than Phillip Salvador’s glistening body (who was Stanley Kowalski in Brocka’s Tagalog production of Streetcar) which Brocka makes us to see with Bona’s eyes in a dozen bed and bathtub scenes. The camera observes Salvador’s body with something of the meticulous awe with which Von Sternberg and his lenses ogled La Grande Marlene.
I’ve seen Bona three times and not yet had my fill of it --- I don’t think a better movie has premiered in the city so far this year. More than a movie, it is also an act of civil disobedience.
Post by: jdv1229 on Apr 04, 2007 at 11:08 PM
What was the relevance of the Black Nazarene procession in the beginning of the film? I loved that scene then it focus on Nora's face, just plain face amidst the thousands of people in that procession.
Noel explained it best in his review of Bona...
Post by: keating on Apr 04, 2007 at 11:17 PM
Post by: jdv1229 on Apr 04, 2007 at 11:20 PM
Post by: Noel_Vera on Apr 05, 2007 at 05:40 AM
Post by: oggsmoggs on Apr 06, 2007 at 06:52 PM
Post by: oggsmoggs on Apr 07, 2007 at 11:04 AM
Post by: keating on Apr 07, 2007 at 08:32 PM
INA KA NG ANAK MO (Lino Brocka, 1979)
Nora Aunor plays a social worker who cannot bear a child. Her husband Raul Aragon had an affair with her mother played by Lolita Rodriguez. Nora finds out and brings the matter to court. The master filmmaker knows how to handle the most riveting and powerful scene in a movie. The scene where Nora finds out the shocking truth is enough to proclaim that Lino Brocka is the heart of Philippine Cinema, gripping, moving and full of emotions.
Post by: Noel_Vera on Apr 10, 2007 at 04:44 PM
Post by: RMN on Apr 10, 2007 at 05:42 PM
Post by: keating on Apr 13, 2007 at 05:45 PM
PAGPUTI NG UWAK, PAG-ITIM NG TAGAK (Celso Ad Castillo, 1978)
The film that caused Vilma Santos bankruptcy in the late 70's, is it worth? Yes...primarily for being the quintessential Celso Ad Castillo masterpiece. I liked it even better than BURLESK QUEEN. The narrative is slow but grabs you long before you finish the movie. Lyrical, poetic, the lush and stunning cinematography by Romy Vitug, solid technical craftmanship by Castillo plus the great ensemble cast Angie Ferro, Adul de Leon, Joonee Gamboa, Lito Anzures and Bembol Roco makes it a worthy to revisit once again. George Canseco's musical score is a tough act to follow. The opening fiesta scene assures you already to sit back and let the visuals of Castillo astound you long before he became rusty in the 90's.
Post by: keating on Apr 19, 2007 at 07:54 PM
Full story here://showbizandstyle.inquirer.net/entertainment/entertainment/view_article.php?article_id=61205
8)
Post by: sosy_high on Apr 23, 2007 at 01:31 PM
Post by: keating on Apr 23, 2007 at 05:39 PM
ORAPRONOBIS on vhs format was available before on amazon.com.
Post by: tonedeaf on Apr 23, 2007 at 08:35 PM
Post by: sosy_high on Apr 24, 2007 at 11:54 AM
Unfortunately all of the titles you mentioned sosy_high are not available locally and not yet released on dvd or vcd format, you can catch it on Cinema One. Kindly check their sked.
ORAPRONOBIS on vhs format was available before on amazon.com.
Oh. That's sad...
but my friend told me that BONA was now released on VCD
Post by: keating on Apr 29, 2007 at 04:32 PM
KAPIT SA PATALIM remains one of my personal fave when it comes to politically themed films next to Brocka's ORAPRONOBIS. Pete Lacaba is always at his best when dealing with subject matter like this. Too bad ORAPRONOBIS was not given any theatrical run since the film emerged in 1989.
Post by: acyl_halide on May 04, 2007 at 05:12 PM
Something of a cinematic UFO, Blackout’s closest cousin might be South Korea’s Sorum (2001), another thriller focused on madness fostered by guilt, set in a deteriorating tenement. In both instances “slice-of-life” mechanics ride shotgun with creative suspense devices, the married rhythms providing a unique and involving structure.
Prone to blackouts, which may be enhanced but not necessarily caused by his drinking, middle-aged Gil has tee-totaled his way into a bad marriage, poor business decisions, and a less-than-honest relationship with his loving young son Nino. Waking up one night passed out by Nino’s bed, Gil discovers his car keys still in the ignition and the body of Isabella, his neighbor Belen’s young daughter, lifeless beneath his rear tires. Panicking, he hides the body and attempts, successfully at first, to turn over a new leaf on all fronts. Guilt – in the form of a series of increasingly surreal hallucinations (some involving Nino’s professions of having seen Isabella) – eventually turns Gil back to the bottle and forces an unraveling of the details surrounding what happened that bleary night, culminating in the discovery of a disturbingly warped emotional bond with Belen.
Gil’s as unreliable a narrator as you’ll find, muddying any sense of everyday truth for himself right down to the broken eyeglasses he refuses to fix. He’s a drunk, a lousy father, and quite probably a killer – exactly the sort of dark vessel missing from most modern suspense films. Robin Padilla’s naturalistic performance sells perfectly Gil’s see-saw moods, and is defined by his relationship with Nino. Above all his failings, Gil’s inability to understand what it means to be a parent is most damning for the audience, and yet Padilla imbues these scenes with sympathetic turns throughout.
Director Ato Bautista’s second film, Blackout is one hell of a rebuke of the sophomore slump theory. An omnipresent minimalist score and restrained but creative editing help enhance the feeling of our being given a window into both Filipino life and Gil’s scattered mind, and a scene of medical violence (Gil’s removal of glass from his hand, courtesy of a smashed liquor bottle) is one of the more authentic and intense in recent memory. The film’s concluding sequence amps the suspense considerably, offering a rock-solid scare and jarring final image.
One hopes Blackout is capable of parlaying its combination of artistic and populist success into a broader release. In a world where fair-skinned, long-haired spirits have been given carte-blanche to populate multiplexes and video store shelves, a dose of realism mixed in goes a very long way.
Post by: Noel_Vera on May 05, 2007 at 02:22 AM
Post by: keating on May 07, 2007 at 05:59 PM
Peque Gallaga rehearses his cast for the opening party scene of ORO PLATA MATA which runs for 20 minutes.
Post by: RMN on May 08, 2007 at 05:59 PM
what do u think of Charo Santos both as an actress and a producer?
Post by: keating on May 09, 2007 at 06:34 PM
Was she part already of Bancom Audiovision? As an actress, she wowed the critics at the Asian Film Fest for ITIM, hence bagging the Best Actress trophy.
Post by: jdv1229 on May 09, 2007 at 06:46 PM
Post by: keating on May 09, 2007 at 06:49 PM
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Post by: keating on May 09, 2007 at 07:33 PM
Post by: Noel_Vera on May 10, 2007 at 06:05 AM
She did have a producing hand--don't know what, exactly--in May Nagmamahal sa Iyo. That's probably my favorite Abaya. If I had to argue greatness in her work, it'll be thanks to that film.
Post by: keating on May 10, 2007 at 08:12 AM
Laughter is the best medicine! The triumvirate of Tito, Vic & Joey as gay beauticians framed up for murder and ended up as prisons in a spoof from the hit Regal Bernal flick BILIBID BOYS, which stars the Regal babies back in the 80's. There's plenty of laugh from beginning to end and I nearly suffered from heartburn due to excessive laughing! Joey de Leon rocks here, man! When asked by his father what really his gender by torturing him in water, he just replied proudly......"i'm a mermaid!" The gay trio served as the bridge for the two war groups inside the prison between the BILIBID BOYS and Joaquin Fajardo's group. Fajardo incidentally has the face that could launch a thousand ships, er, only a mother could love. BILIBID GAYS is one hell of a riotous and crap movie. There's the prison party scene near the finale where the trio danced to death with the BILIBID BOYS gang matched with a funky music from the early 80's.
;D
Post by: jdv1229 on May 10, 2007 at 08:59 AM
Did you like her in HINDI MO AKO KAYANG TAPAKAN?
i didn't like her and the movie as well... it was a tagalog version of the mini series A Woman Of Substance...
Post by: wedge on May 10, 2007 at 01:16 PM
Can you give a list of Filipino films shown at Cannes that were made by Lino Brocka? (I'm trying to find out a film wherein a relative of my wife was one of the cast....she won't tell us what film was it. I have a feeling that it was Kapit sa Patalim, though i'm not exactly certain about it).
Post by: jdv1229 on May 10, 2007 at 06:16 PM
Insiang
Jaguar
Bona
Kapit Sa Patalim
Orapronobis
Post by: keating on May 10, 2007 at 06:19 PM
i didn't like her and the movie as well... it was a tagalog version of the mini series A Woman Of Substance...
Was it copied scene by scene including the wake of Chanda where Charo threw some money to her children and grandchildren? Incidentally that was my favorite scene in the movie.
Noel was right, she was excellent in Abaya's BRUTAL.
Post by: jdv1229 on May 10, 2007 at 06:24 PM
Post by: keating on May 10, 2007 at 06:31 PM
Post by: jdv1229 on May 10, 2007 at 06:42 PM
Post by: keating on May 10, 2007 at 06:55 PM
Post by: jdv1229 on May 10, 2007 at 07:04 PM
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Post by: jdv1229 on May 10, 2007 at 07:09 PM
Post by: keating on May 10, 2007 at 07:14 PM
Post by: jdv1229 on May 10, 2007 at 07:23 PM
Post by: keating on May 10, 2007 at 07:28 PM
Post by: jdv1229 on May 10, 2007 at 07:35 PM
Post by: keating on May 10, 2007 at 07:39 PM
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Post by: keating on May 10, 2007 at 07:46 PM
Post by: Noel_Vera on May 10, 2007 at 09:58 PM
Post by: wedge on May 11, 2007 at 01:32 AM
here's a rundown of Brocka films screened at the Cannes Film Festival
Insiang
Jaguar
Bona
Kapit Sa Patalim
Orapronobis
Thanks, jojo :)
Post by: jdv1229 on May 11, 2007 at 06:51 AM
Post by: wedge on May 11, 2007 at 08:09 AM
Anyway, what was the reason why the Philippine government didn't support Brocka for Orapronobis, as well as the reason why it was banned? Was it um, exceedingly subversive or maligning or incriminating?
Post by: jdv1229 on May 11, 2007 at 09:41 AM
i'm not quite sure of the government's refusal to support Brocka's Orapronobis i guess because it's anti-Aquino...
Noel might be able to shed some light into the matter...
Post by: Noel_Vera on May 11, 2007 at 09:53 AM
Post by: wedge on May 11, 2007 at 10:03 AM
Post by: Noel_Vera on May 11, 2007 at 03:07 PM
But yeah, I'm sure hitting those vigilante groups didn't help the film, either.
Post by: keating on May 11, 2007 at 06:22 PM
Post by: jdv1229 on May 11, 2007 at 06:39 PM
Post by: keating on May 11, 2007 at 06:45 PM
Post by: jdv1229 on May 11, 2007 at 06:51 PM
Post by: keating on May 11, 2007 at 06:54 PM
Was Johnny Litton responsible for the spate of skin flicks that was shown in Manila Film Center?
Post by: jdv1229 on May 11, 2007 at 07:01 PM
Post by: keating on May 11, 2007 at 07:21 PM
Post by: jdv1229 on May 12, 2007 at 06:46 AM
Post by: keating on May 12, 2007 at 09:51 PM
Post by: Noel_Vera on May 13, 2007 at 01:41 AM
Post by: sosy_high on May 13, 2007 at 03:25 PM
Post by: Noel_Vera on May 14, 2007 at 11:21 AM
Post by: RMN on May 14, 2007 at 01:54 PM
Post by: sosy_high on May 14, 2007 at 02:06 PM
so what is the most successful Brocka film ever?
Post by: RMN on May 14, 2007 at 02:10 PM
Post by: sosy_high on May 14, 2007 at 02:12 PM
I also heard from my mom that Himala was a cult-success in it's release
Post by: Noel_Vera on May 14, 2007 at 04:35 PM
Post by: jdv1229 on May 14, 2007 at 06:28 PM
Post by: keating on May 14, 2007 at 06:51 PM
Post by: jdv1229 on May 14, 2007 at 07:09 PM
Post by: keating on May 14, 2007 at 07:26 PM
LVN ad dated back in 1983 from Manila International Film Festival brochure.
Post by: jdv1229 on May 14, 2007 at 07:37 PM
Post by: keating on May 14, 2007 at 07:40 PM
Post by: Noel_Vera on May 15, 2007 at 01:41 AM
Himala ranked number 2 at the 1982 MMFF immediately after it won most of the awards... Pasan Ko Ang Daigdig wasn't a hit even with the critics...
Goes to show you what I know about boxoffice. Would you know what was Brocka's biggest hit, Jo? And Bernal's while we're at it, and who was the more consistent moneymaker, if not who made the most money (I think the former is the easier question to answer)?
Post by: jdv1229 on May 15, 2007 at 06:27 AM
between the two, Bernal's films made more money most notably Pabling, Galawgaw & Bilibid Boys... Brocka's youth oriented fare such as Burgis & Hello Young Lovers barely broke even at the box office.
Post by: Noel_Vera on May 15, 2007 at 03:01 PM
Or is the popularity of one based on misunderstanding--people thinking Bernal's comedies are more 'lighthearted'?
Sounds like the basis for some article right there somewhere.
Post by: Noel_Vera on May 15, 2007 at 03:04 PM
Would things have been different if he broke into Hollywood? I don't know what kind of deals were being made then. Rissent wanted to distribute his filsm, that I know.
Post by: keating on May 18, 2007 at 06:29 PM
End of Brocka's career in Hollywood. A blessing really if you ask me.
Post by: jdv1229 on May 18, 2007 at 06:48 PM
Post by: keating on May 18, 2007 at 06:58 PM
Post by: jdv1229 on May 18, 2007 at 07:06 PM
Post by: keating on May 18, 2007 at 07:15 PM
Post by: jdv1229 on May 18, 2007 at 07:28 PM
Post by: keating on May 18, 2007 at 07:30 PM
BURGIS should have been given to Bernal.
Post by: keating on May 19, 2007 at 07:07 PM
BULAKLAK SA CITY JAIL (Mario O'Hara, 1984)
Masterwork, gripping! Mario O'Hara can handle big theme movies aside from the classic epic TATLONG TAONG WALANG DIYOS. Nora Aunor as Angela gives another bravura performance, those quiet, restrain moments whether inside the prison or outside convey effectively her character. The ensemble cast were all good from Celia Rodriguez, Gina Alajar, Zenaida Amador and Maya Valdez. No leftover character. One of the best prison films I ever saw in a long time. Maya Valdez is so menacing, the villain that you can league along with Bembol Roco in Brocka's ORAPRONOBIS. You feel the stench inside the women's prison, technically well-polished and great, great performances along the way.
Post by: jdv1229 on May 19, 2007 at 07:09 PM
Post by: keating on May 19, 2007 at 07:13 PM
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Post by: Noel_Vera on May 20, 2007 at 11:30 AM
I think you can argue Fatima is O'Hara's Lola Montes. A good even brilliant film with a vacuum of artistic competence for a center.
Bulaklak is one of O'Hara's best, sure. But prisonscenewise, I think those in Kastilyong Buhangin are as good, if not better.
Take notice of the corridor compositions. O'Hara gives you a strong sense of the narrowness of the jail's main corridor, how danger (an icepick, a sharpened spoon) can suddenly pounce on you from all sides. Notice also how when Gina Alajar escapes, the LRT train interiors mirror the corridors of the jail--in effect, Alajar only escaped to a larger prison.
The ending could easily be considered a cop-out, but I love the way O'Hara edited the talking heads discussing Nora's situation, and I love it that Nora couldn't survive on virtue alone--the ony reason she got any kind of compassion was because she knew something or was able to testify to someting some rich woman wanted in court. Bautista was always careful to turn her plot points on realistic details like that.
I got an email from Raymond Lee. He said he saw Pan's Labyrinth, was thinking of Mario's Pangarap ng Puso. He thought that Mario's film was somuch better. I think I agree.
Post by: keating on May 20, 2007 at 06:21 PM
And yes, I love the editing montages in BULAKLAK SA CITY JAIL. Without Mario's guidance and patience, Kris could have easily sunk into oblivion in FATIMA BUEN STORY. Noel, how many takes did Kris undergoes in the film? ;D
Post by: jdv1229 on May 20, 2007 at 07:39 PM
When Charito opened the envelope and announced the Best Actress award she said....."hay salamat Gelli de Belen!" ;D
i never had the chance to watch the awards night...
Post by: keating on May 20, 2007 at 07:48 PM
Post by: jdv1229 on May 20, 2007 at 08:19 PM
Post by: keating on May 20, 2007 at 08:24 PM
Post by: jdv1229 on May 20, 2007 at 08:57 PM
Post by: Noel_Vera on May 21, 2007 at 02:24 PM
Brocka's 16th? I don't know. Will think about it. Jo, are you doing something?
Post by: RMN on May 21, 2007 at 04:25 PM
Post by: keating on May 21, 2007 at 04:42 PM
Post by: jdv1229 on May 21, 2007 at 06:30 PM
Post by: keating on May 21, 2007 at 06:39 PM
Post by: jdv1229 on May 21, 2007 at 06:42 PM
Post by: keating on May 21, 2007 at 07:26 PM
BURGIS (Lino Brocka, 1981)
A monumental flop during its time, one that Brocka accepted to feed his stomach and the result is a mix bag of a teen-angst flick that you can sleep after the opening credits. Gabby Concepcion lives in North Forbes in Makati and personified the typical cono with his mestizo looks, breeding and personality. A college drop-out, he mingles with the middle and lower class in the new university to continue his studies. The differences between the two social class were not fleshed out, we only see Gabby treating his buddies to free lunch by using his credit card, malling and even inviting them to his home. Amy Austria plays the main squeeze of Gabby and Isabel Rivas as the other lass. More interesting to see though are the supporting cast like the late Elvira Manahan as the mother of Gabby, Maya Valdez as one of the teachers and comedienne Louella. Teen-angst are not Brocka's cup of tea, having not experience the real life of being in the upper-class but I'm not maltreating the master filmmaker, Bernal and Gosiengfiao could have infuse more characterization in Juni Locsin's character. But hey, there's still a saving grace in the film. Brocka's veteran cinematographer Conrado Baltazar lensed the film to give it a kinetic and high energy visuals. I was expecting more since the movie was written by Butch Dalisay. Its the life of a cono but it deviates sometimes from the life of being rich, affluent and upper-class.
Post by: telonistas on May 21, 2007 at 09:50 PM
Anyone here who know where Gigi Duenas might be? ??? Thanks!
She married a French guy and settled in one of the islands in the Pacific after Edsa Revolution. She also appeared in Apocalypse Now, her face was one of the flash cuts in the Kurtz's assasination sequence. There were stories that she became one of Marlon Brando's girlfriends while shooting in Pagsanjan.
Post by: jdv1229 on May 22, 2007 at 07:08 AM
(http://i103.photobucket.com/albums/m132/keating_01/burgis.jpg)
BURGIS (Lino Brocka, 1981)
A monumental flop during its time, one that Brocka accepted to feed his stomach and the result is a mix bag of a teen-angst flick that you can sleep after the opening credits. Gabby Concepcion lives in North Forbes in Makati and personified the typical cono with his mestizo looks, breeding and personality. A college drop-out, he mingles with the middle and lower class in the new university to continue his studies. The differences between the two social class were not fleshed out, we only see Gabby treating his buddies to free lunch by using his credit card, malling and even inviting them to his home. Amy Austria plays the main squeeze of Gabby and Isabel Rivas as the other lass. More interesting to see though are the supporting cast like the late Elvira Manahan as the mother of Gabby, Maya Valdez as one of the teachers and comedienne Louella. Teen-angst are not Brocka's cup of tea, having not experience the real life of being in the upper-class but I'm not maltreating the master filmmaker, Bernal and Gosiengfiao could have infuse more characterization in Juni Locsin's character. But hey, there's still a saving grace in the film. Brocka's veteran cinematographer Conrado Baltazar lensed the film to give it a kinetic and high energy visuals. I was expecting more since the movie was written by Butch Dalisay. Its the life of a cono but it deviates sometimes from the life of being rich, affluent and upper-class.
Burgis wasn't really a bad film maybe not great in terms of Brocka standards but still better than your average Filipino film...
Post by: RMN on May 22, 2007 at 12:18 PM
Anyone here who know where Gigi Duenas might be? ??? Thanks!
To answer my own question, she's in Martinique, Carribean...
Post by: keating on May 22, 2007 at 05:44 PM
Burgis wasn't really a bad film maybe not great in terms of Brocka standards but still better than your average Filipino film...
The cliches sometimes are unbelievable, Gabby is supposed to be rich but I haven't seen his battery of servants and his own driver in their mansion. And he is so generous to a fault, conos are not like that. And they speak fluent English in their homes. ;)
But I like how he interact with the middle-class, his buddies at the university, the close-knit.
Post by: oggsmoggs on May 27, 2007 at 08:53 PM
Post by: keating on Jun 02, 2007 at 05:28 PM
Slick, edge of your seat suspense thriller especially before the finale, dabbles in the melodrama genre. Vivian Velez is outstanding as the woman scorned and dumped by Julio Diaz after a one-night stand. Velez characterization is more fleshed out and even better than Glenn Close in FATAL ATTRACTION. The usual thriller cliches are here.....unusual gifts being sent, phone calls at night, stalking. Rono keeps the pacing fast and his cast delivered some of the best moments especially Dawn Zulueta's strong-willed character. But its Vivian who holds the film and still gives you empathy after uttering these words to Angie Ferro...."ako ang ipagdasal ninyo dahil ako ang buhay pa!" You know you are in for a menacing and terrifying ride of your life when you meet this woman. Just two rants, its the most deserted hospital that I've ever seen shot in an old building in Arroceros, Manila and the music is too loud and annoying. If they could have toned down the musical score, the film is perfect for Halloween.
Post by: jdv1229 on Jun 02, 2007 at 05:38 PM
Post by: keating on Jun 02, 2007 at 05:41 PM
Post by: jdv1229 on Jun 02, 2007 at 05:46 PM
Post by: keating on Jun 02, 2007 at 05:51 PM
Post by: sosy_high on Jun 03, 2007 at 02:52 PM
"ALPHA KAPPAAAAA OMEEEEEEEEEEEGAAAAAAAAAAAA!" (song) OMG, it gives me chills!
I don't know, siguro, NEVER ko nang panonoorin ang flick na ito for the 3rd time. But I think it's my FAVORITE FILIPINO FILM OF ALL TIME and also THE BEST.
changed my list:
1) Batch '81
2) Maynila sa mga kuko ng liwanag
3) Himala
4) Hinugot sa Langit
5) Bona
6) Oro Plata Mata
7) Tinimbang ka ngunit kulang
8 ) Manila by Night
9) Mila
10) Ang Pagdadalaga ni Maximo Oliveros
12) Tatlong Taong Walang Diyos
13) Minsa'y isang gamu gamo
14) Insiang
15) Bagets
Post by: sosy_high on Jun 03, 2007 at 02:56 PM
There are rumours that John Lloyd Cruz will play the role of Sid Lucero...wala pa sa Sister Stella L and Oro...
I think sa Sister Stella L, ang perfect para sa remake is Maja Salvador (IMHO, she was the best teen actress in this decade)
as of Oro, Plata, mata....parang WALA ::)
Post by: RMN on Jun 04, 2007 at 10:29 AM
Post by: RMN on Jun 04, 2007 at 10:33 AM
BTW, Batch '81 and Sister Stella L and Oro, Plata, mata will have a remake on ABS-CBN's Sineserye Presents...
There are rumours that John Lloyd Cruz will play the role of Sid Lucero...
Holy !@#$%%!
Who'll direct? this is absurd! :o
Post by: sosy_high on Jun 04, 2007 at 10:39 AM
Holy !@#$%%!
Who'll direct? this is absurd! :o
I don't know...wala pa ata
also, Burlesk Queen papala, starring Rica Peralejo.
jusko, yung "Ungguyan" kaya sa Batch 81, eh isama pa nila sa TV version? I bet girls will scream they're lungs out ;D
Post by: keating on Jun 04, 2007 at 06:15 PM
Post by: sosy_high on Jun 05, 2007 at 11:18 AM
Sussane Gonzales??? :D
Santi Santillan...hahahaz!
Post by: keating on Jun 08, 2007 at 07:57 AM
Post by: Noel_Vera on Jun 08, 2007 at 10:58 AM
Post by: keating on Jun 09, 2007 at 06:52 PM
What I want to see in one film screening is the three enfant terrible of Philippine Cinema.....Celso, Peque and Mario O'Hara.
Post by: Noel_Vera on Jun 10, 2007 at 01:56 PM
Elwood talks to everyone. Him I like very much.
Post by: oggsmoggs on Jun 10, 2007 at 02:49 PM
Post by: keating on Jun 10, 2007 at 05:47 PM
The oldest profession among women was given a dose of optimism on celluloid from the mother and daughter team of the late Charito Solis and Gina Alajar. From its original title of MISERICORDIA to PLAYGIRL because of the producer's whim, Mel Chionglo's underrated salvo is not bad at all, can be in the league of his other collaboration with Ricky Lee, SINNER OR SAINT and BOMBA ARIENDA. Charito Solis always rise above the material whether playing a prostitute or the suffering mother, same with Gina Alajar with her competent performance. Chionglo's visual flair as a production designer is always evident in some of the best movies that came out in the 70's and 80's....ITIM, INA KAPATID ANAK, GUMISING KA MARUJA, TEMPTATION ISLAND. Max Jocson's musical score is always haunting, brimming with tunes that suits best the atmosphere of the movie. I miss the man and wish he would return doing musical scores again in movies. With such a thin plot, PLAYGIRL is mixed with social issues and will try to arouse your senses.
Post by: keating on Jun 10, 2007 at 07:07 PM
Figures. I don't know if Gil is talking to Tikoy. He certainly wasn't talking to me, last time we saw each other.
Elwood talks to everyone. Him I like very much.
Yeah among the three....Elwood was the most approachable. But always falls asleep in every film screening. ;D
Post by: jdv1229 on Jun 10, 2007 at 07:45 PM
Post by: keating on Jun 10, 2007 at 07:50 PM
Max Jocson's musical score on the opening credits on PLAYGIRL still haunt me.
Post by: jdv1229 on Jun 10, 2007 at 08:15 PM
Post by: keating on Jun 10, 2007 at 08:17 PM
Post by: jdv1229 on Jun 10, 2007 at 08:23 PM
Post by: keating on Jun 10, 2007 at 08:32 PM
Who would you cast?
Post by: jdv1229 on Jun 10, 2007 at 08:44 PM
the main character is supposed to be a teenager, i think Maja Salvador would be just right for the part. Irma Adlawan for the social worker role and Angel Aquino as the nun...
Post by: keating on Jun 10, 2007 at 08:47 PM
Claudine is my choice also for the lead but she's old na. Jacklyn Jose for the social worker also, and Angel Aquino as the nun.
And of course Peque to direct the film so that he could bury the hatchet na with Ricky.
Post by: jdv1229 on Jun 10, 2007 at 08:51 PM
Post by: keating on Jun 10, 2007 at 08:55 PM
Post by: jdv1229 on Jun 10, 2007 at 09:04 PM
Post by: keating on Jun 10, 2007 at 09:07 PM
Post by: jdv1229 on Jun 10, 2007 at 09:16 PM
i have a very vague recollection of the original...
Post by: keating on Jun 10, 2007 at 09:22 PM
Best scene in PAGSAPIT NG DILIM.....Perla Bautista ate the liver of one of the patients in a small hospital thru the window. Boots Anson-Roa as the doctor was mistaken as the creature at night by the town's folk. Before Tobe Hooper did the window sequence in SALEM'S LOT, we are ahead of its time again. :o
Post by: jdv1229 on Jun 10, 2007 at 09:24 PM
Post by: keating on Jun 10, 2007 at 09:30 PM
KARUNUNGANG ITIM mix horror and comedy with Ramon Zamora as he battles a creature who uses his tongue to eat the babies of pregnant women. LANGIT LUPA AT IMPIYERNO stars Susan Roces, her soul traveled to heaven and hell after her death and there's the stunning sequence in the purgatory and hell similar to COFFIN JOE TRILOGY which is really unforgettable!
Post by: Noel_Vera on Jun 11, 2007 at 07:25 AM
Post by: sosy_high on Jun 12, 2007 at 11:19 AM
This June daw...so abangan!
Post by: sosy_high on Jun 12, 2007 at 11:31 AM
http://www.bahaybahayan.com/DVDstore.html
It says na meron silang tintindang Maynila, Tinimbang, Lucia at Bukas Madilim Bukas...
totoo kaya?
Post by: Noel_Vera on Jun 12, 2007 at 02:03 PM
And how certain is the Cinefilipino thing? Beyond the Inquirer article, I dont' see anything else. Even the website doesn't mention the releases.
Post by: sosy_high on Jun 12, 2007 at 02:33 PM
Post by: Noel_Vera on Jun 12, 2007 at 04:16 PM
Post by: jdv1229 on Jun 12, 2007 at 06:11 PM
Guys, what's this website?
http://www.bahaybahayan.com/DVDstore.html
It says na meron silang tintindang Maynila, Tinimbang, Lucia at Bukas Madilim Bukas...
totoo kaya?
whoever's selling these films said that Maynila and Tinimbang were broadcast copies from the Philippines (definitely not from the existing master) and that he only has the Bukas, Madilim, Bukas episode of Tatlo, Dalawa, Isa (from his own videotape copy)... just wait for the cinefilipino release...
Post by: keating on Jun 12, 2007 at 07:32 PM
Post by: Noel_Vera on Jun 16, 2007 at 01:46 PM
Only Yesterday (Isao Takahata, 1991) (http://criticafterdark.blogspot.com/2007/06/omohide-poro-poro-only-yesterday-isao.html)
Cinefilipino releases Lino Brocka on DVD! (http://criticafterdark.blogspot.com/2007/06/cinefilipino-releases-5-lino-brocka.html)
Meet the Robinsons (Stephen J. Anderson,,2006) (http://movies.groups.yahoo.com/group/noelmoviereviews/message/646)
Post by: oggsmoggs on Jun 23, 2007 at 01:13 PM
Post by: oggsmoggs on Jun 24, 2007 at 12:22 AM
Post by: Noel_Vera on Jun 25, 2007 at 03:24 AM
Post by: Noel_Vera on Jun 25, 2007 at 03:32 AM
Post by: Noel_Vera on Jun 25, 2007 at 03:33 AM
Post by: keating on Jun 25, 2007 at 09:19 AM
"its sad that the Philippines has no money but full of talent, while the other country has lots of money but no talent!"
Post by: oggsmoggs on Jun 25, 2007 at 10:14 AM
Post by: oggsmoggs on Jun 25, 2007 at 10:27 PM
Post by: rse on Jun 26, 2007 at 01:20 AM
I also managed to catch two movies when I was there: Fantastic 4 and Silip.
The sequel to Fantastic 4 I think is better than the first one, although still it's just your typical Hollywood summer movie.
Silip is Joel Lamangan's latest. I'm still deciding whether I like it or not. It seems like he's trying to do a Celso ad Castillo in this movie.
The brilliant albeit glossy cinematography is by Romeo Vitug. And if I'm not mistaken this is written by Raquel Villavicencio.
I've seen the following films on DVD/VCD so far:
Sa North Diversion Road - I had the same reaction to this film as when I was watching A Short Film About the Indio Nacional, I admire it more than I love it. It's one of those films that you watch only once. The acting by the two leads was excellent, the filmmaking masterfull, still it didn't involve me emotionally. I think 10 variations of stories is a bit too much to take. In the end I was just waiting for it to end. It's still an excellent intellectual filmmaking exercise.
Zsa Zsa Zaturnnah - I think this is the most enjoyable and funniest Lamangan film I've seen. I really enjoyed its goofyness. It's the same kind of movie as Gagamboy which I also really liked.
The only thing that annoys me here is the inclusion of the non-funny Pops Fernandez (doing an unconvincing british accent).
Kaleldo - Visually well-made although I think the director still needs to hone his storytelling skills. Cherry Pie Picache is a must-see in this.
Wag Kang Lilingon - Another one of those Japanese-inspired horror movie. Although the twist in the end is kinda neat.
Cavite - "Phone Booth" style movie. It seems obvious in parts that this film was made by someone who´s read a lot about but hasn't lived in the Philippines for a while.
You are the One - One of those typical teenage romance movies. Although I kinda liked it. At least they had the guts to shoot in Smokey Mountains.
You Got Me - Nothing special. It didn't really get me.
I still have a few titles to see. I will post them as soon as I've finished seeing them.
Post by: ev on Jun 26, 2007 at 12:01 PM
(http://i151.photobucket.com/albums/s132/everet_69/tagalogmovies.jpg)
Post by: Noel_Vera on Jun 26, 2007 at 03:22 PM
Post by: oggsmoggs on Jun 26, 2007 at 09:49 PM
Post by: ev on Jun 27, 2007 at 08:15 AM
BABAE SA BREAKWATER (2004)4 ;D out of 4 ;D
Starring: Katherine Luna
Director: Mario O'Hara
ANDRES DE SAYA3 :D OUT OF 4 ;D
Starring: Gloria Diaz & Vic Vargas
Director: Angel Labra
SINO'NG PIPIGIL SA PAGPATAK NG ULAN3 :D OUT OF 4 ;D
Starring: Robert Arevalo, Jay Ilagan & Pilar Pilapil
Director: Angel Labra
KARIBAL KO ANG AKING INA2 1/2 ;) out of 4 ;D
Starring: Gloria Diaz & Mark Gil
Director: Maria Saret
WARAT (1999)2 1/2 ;) out of 4 ;D
Starring: Jomari Yllana & Joyce Jimenez
Director: Joel Lamangan
BIYAK NA MANYIKA2 1/2 ;) out of 4 ;D
Starring: Janet Bordon, Philip Salvador & Gloria Romero
Director: Emmanuel Borlaza
GABUN (AMA KO, AMA MO)3 1/2 ;D out of 4 ;D
Starring: Eddie Rodriguez, Charito Solis & Liza Lorena
Director: Maryo J. delos Reyes
KAMPUS? (1979)2 1/2 ;) out of 4 ;D
Starring: Vilma Santos & Bembol Roco
Director: Bernardo S. Castillo
LUMAYO KA MAN SA AKIN3 :D out of 4 ;D
Starring: Richard Gomez & Gretchen Baretto
Director: Laurice Guillen
Post by: rse on Jun 29, 2007 at 12:18 AM
Mike Tuviera
This is another local film based on Wuthering Heights. Another notable film that comes to mind is Hihintayin Kita sa Langit. That movie I think is one of Seguin-Reyna’s better movies.
What can I say about this version? It’s very picturesque and it’s very beautiful to look at. Too bad that’s the only thing that I like about the movie.
Although the two leads look great together they simply can’t act. They’re so stiff and wooden. (From the “making-off” featurette they said that they had to go to an acting workshop before filming. LOL!)
I can’t believe that the screenplay is by Raquel Villavicencio and worse I can’t imagine that you can create a bad screenplay from a great novel.
Also from the "making-off" featurette, my wife and I were hysterical upon hearing one of the producers commenting that this movie will be a classic someday. Old, yes but, classic?
Post by: oggsmoggs on Jun 29, 2007 at 04:34 PM
Post by: rse on Jun 30, 2007 at 04:47 PM
You Are the One (Cathy Garcia-Molina, 2006) (http://oggsmoggs.blogspot.com/2007/06/you-are-one-2006.html)
I agree. This movie pleasantly surprised me. It's one of the better pinoy teenage romance movies that i've seen so far from a bunch of dvds/vcds that I've bought from Manila.
Another one that's quite good is Kasal, Kasali, Kasalo (by the prolific Jose Javier Reyes).
Post by: oggsmoggs on Jul 01, 2007 at 10:34 PM
Post by: rse on Jul 03, 2007 at 12:33 AM
You Got Me (Cathy Garcia-Molina, 2007) (http://oggsmoggs.blogspot.com/2007/07/you-got-me-2007.html)
Agree this is a major letdown for me as well (after seeing You're the One). I didn't even know that it was made by the same team.
Still it's better than The Promise and Mano Po 5 (Gua Ai Di).
I bought my copy in Astroplus in the Phils. but I think this is available online either in www.regalfilms.com or www.kabayancentral.com.
Post by: oggsmoggs on Jul 05, 2007 at 10:47 PM
Post by: keating on Jul 07, 2007 at 07:16 PM
http://www.youtube.com/watch?v=QZ4VRRvj7t0
Post by: keating on Jul 07, 2007 at 09:05 PM
STARBYTES By Butch Francisco
Saturday, July 7, 2007
It’s father and son, father and daughter, aunt and niece and boyfriend and girlfriend in the Gawad Urian’s list of nominees this year (awards presentation to be held middle of next month).
In the Best Actor race, Mark Gil (Rotonda) will be competing against his own son, Sid Lucero (Donsol) while father and daughter tandem Soliman Cruz (Kasal, Kasali, Kasalo) and Tala Santos (Inang Yaya) are both nominated in the Supporting Actor/Actress categories.
Maricel Soriano (Inang Yaya) also received a nomination for Best Actress, while niece Meryll Soriano (Rotonda) is one of the nominees for Best Supporting Actress. Real-life sweethearts Ryan Agoncillo and Judy Ann Santos, meanwhile, also scored nominations for Best Actor/Actress in their first team-up, Kasal, Kasali, Kasalo.
In the 1990 Gawad Urian, there were also interesting combinations during the awards night (held at the main theater of the CCP). Best Actor was Christopher de Leon (My Other Woman), while Best Actress was Nora Aunor (Andrea, Paano Ba ang Maging Isang Ina?) — although they were already estranged by then. In the other acting categories — Best Supporting Actor/Actress — the trophies went to husband and wife Michael de Mesa (Ikasa Mo, Ipuputok Ko) and Gina Alajar (Biktima). In their case, they were still a happy couple then. They are happily annulled now.
Below is the list of Gawad Urian nominees in the major categories:
Best Picture: Huling Balyan, Kaleldo, Kasal, Kasali, Kasalo, Kubrador, Manoro, Rome & Juliet and Todo, Todos, Teros.
Best Director: Jeffrey Jeturian (Kubrador), Joel Lamangan (Zsa Zsa Zaturnnah), Connie Macatuno (Romeo & Juliet), Brillante Mendoza (Kaleldo and Manoro), Jose Javier Reyes (Kasal, Kasali, Kasalo), Sherad Anthony Sanchez (Huling Balyan) and John Torres (Todo, Todos, Teros).
Best Actor: Ryan Agoncillo (Kasal, Kasali, Kasalo), Alcris Galura (Batad), Mark Gil (Rotonda), Sid Lucero (Donsol), Mario Magallona (Rekados), Rustom Padilla (Zsa Zsa Zaturnnah) and Jett Pangan (Tulad ng Dati).
Best Actress: Jonalyn Ablong (Manoro), Angel Aquino (Kaleldo), Mylene Dizon (Romeo & Juliet), Gina Pareño (Kubrador), Cherry Pie Picache (Kaleldo), Judy Ann Santos (Kasal, Kasali, Kasalo) and Maricel Soriano (Inang Yaya).
Best Supporting Actor: Archie Adamos (Raket ni Nanay), Soliman Cruz (Kasal, Kasali, Kasalo), Domingo Landicho (Kubrador), Ping Medina (Tulad ng Dati), Lauren Novero (Kaleldo), Allan Paule (Kaleldo), Jeffrey Quizon (Rotonda) and Rafael Rosel (Romeo & Juliet).
Best Supporting Actress: Gloria Diaz (Kasal, Kasali, Kasalo), Pops Fernandez (Zsa Zsa Zaturnnah), Agot Isidro (Tulad ng Dati), Liza Lorena (Inang Yaya), Gina Pareño (Kasal, Kasali, Kasalo), Tala Santos (Inang Yaya), Meryll Soriano (Rotonda) and Tessie Tomas (Romeo & Juliet).
Recipient of the Natatanging Gawad Urian is Ms. Marichu Vera Perez Maceda for her contributions as producer and one of the pillars of the local movie industry.
Post by: sosy_high on Jul 15, 2007 at 12:47 PM
Offtopic: Ang cute mo pala Keating! ;D
Post by: jdv1229 on Jul 15, 2007 at 04:55 PM
see you all there!
Post by: keating on Jul 15, 2007 at 07:37 PM
Post by: jdv1229 on Jul 15, 2007 at 07:40 PM
Post by: sosy_high on Jul 16, 2007 at 03:50 PM
Paraiso: Tatlong Kwento ng Pag-asa (Paradise: Three Stories of Hope, Ricky Davao, Jun Lana & Joel Ruiz, 2007) (http://oggsmoggs.blogspot.com/2007/07/paraiso-tatlong-kwento-ng-pag-asa-2007.html)
The Maricel segment was the best...the rest was just ok.
Post by: oggsmoggs on Jul 17, 2007 at 06:45 PM
Post by: halvert on Jul 17, 2007 at 08:13 PM
Post by: oggsmoggs on Jul 18, 2007 at 01:06 PM
Boatman (Tikoy Aguiluz, 1984) (http://oggsmoggs.blogspot.com/2007/07/boatman-1984.html)
Post by: sosy_high on Jul 19, 2007 at 08:41 PM
Stupid question: what was the name of that Gladys Reyes movie which was a rip-off of Carrie?
Tagal na nito! pro sagutin ko naren...hahahahaa
its Anak ng Dilim....hahahahaha
Post by: rse on Jul 20, 2007 at 01:14 AM
Will do so soon, halvert.
Boatman (Tikoy Aguiluz, 1984) (http://oggsmoggs.blogspot.com/2007/07/boatman-1984.html)
I rented this once a long time ago in Blockbuster near our place (in VHS format). As far as I can remember it didn't look cut at all. They'll probably release this on vcd/dvd sometime in the future.
This is Tikoy's best film in my opinion.
Post by: rse on Jul 20, 2007 at 01:21 AM
Movie studios should not let Cesar near their latest film equipment. It looks like Cesar got overly excited and used all the available functions. He also got trigger-happy with the editing and camera work.
What he forgot is to tell a story that makes sense, coherent, and believable.
Post by: sosy_high on Jul 20, 2007 at 12:48 PM
Ligalig (Cesar Montano)
Movie studios should not let Cesar near their latest film equipment. It looks like Cesar got overly excited and used all the available functions. He also got trigger-happy with the editing and camera work.
What he forgot is to tell a story that makes sense, coherent, and believable.
It's a mere copycat of the 2003 French movie HAUTE TENSION
Post by: RMN on Jul 20, 2007 at 01:25 PM
Ligalig (Cesar Montano)
Movie studios should not let Cesar near their latest film equipment. It looks like Cesar got overly excited and used all the available functions. He also got trigger-happy with the editing and camera work.
What he forgot is to tell a story that makes sense, coherent, and believable.
Agreed! Especially the driving scenes. Annoying. Hehe. ;D
Post by: oggsmoggs on Jul 20, 2007 at 01:29 PM
Agreed! Especially the driving scenes. Annoying. Hehe. ;D
...and totally pointless. Why would someone use special effects for those scenes? I must admit, the film had one good performance, which made the massacre sequence quite watchable. Other than that, it's a stupid, stupid film.
Post by: sosy_high on Jul 20, 2007 at 02:07 PM
...and totally pointless. Why would someone use special effects for those scenes? I must admit, the film had one good performance, which made the massacre sequence quite watchable. Other than that, it's a stupid, stupid film.
Actually, Sunshine Cruz gives an astonishing performance in this film. She's really SCARED! You can feel it. Otherwise, yeah, its a bad movie.
Post by: jdv1229 on Jul 23, 2007 at 07:55 AM
Vincent Nebrida gave me complimentary advanced copies of Cine Filipino's soon to be released DVD's...
just finished watching Tatlo, Dalawa, Isa, next is Insiang which was mastered from the same print screened at last year's New York Film Festival then tomorrow it's Tinimbang Ka Ngunit Kulang.
Post by: marj on Jul 23, 2007 at 09:09 AM
(http://i77.photobucket.com/albums/j63/jojodevera/024.jpg)
Vincent Nebrida gave me complimentary advanced copies of Cine Filipino's soon to be released DVD's...
just finished watching Tatlo, Dalawa, Isa, next is Insiang which was mastered from the same print screened at last year's New York Film Festival then tomorrow it's Tinimbang Ka Ngunit Kulang.
When will they be available for sale?
Post by: jdv1229 on Jul 23, 2007 at 09:47 AM
Post by: thegoodbyeguy on Jul 23, 2007 at 12:07 PM
Hopefully, they would release a Nora Aunor classic movie in this magnitude. Of course, availability and rights are always the concern.
Post by: thegoodbyeguy on Jul 23, 2007 at 12:45 PM
And speaking of releasing a classic movie. This one is really a 'classic.' Just saw the GABI NG LAGIM vcd recently and was really affronted by having the cover shown the name of Ramon Revilla as the lead star when even his shadow were no longer visible in the movie. He was in the first segment as I've remembered before (in the glory days of Ch.9's afternoon delight) but only three were survived, the vampire who attack a barrio (inspired by Hammer vampire films), the vengeful severed hand and the comedic haunted house story lead by The King. They should have put Fernando Poe, Jr. if they are trying to sell this by means of big stars on the cover, at least viewers will know that what they will see is what they will get. >:(
By the way, the video quality that is being released in vcd is the same one being shown in cable.
Post by: sosy_high on Jul 23, 2007 at 08:57 PM
(http://i77.photobucket.com/albums/j63/jojodevera/024.jpg)
Vincent Nebrida gave me complimentary advanced copies of Cine Filipino's soon to be released DVD's...
just finished watching Tatlo, Dalawa, Isa, next is Insiang which was mastered from the same print screened at last year's New York Film Festival then tomorrow it's Tinimbang Ka Ngunit Kulang.
Love the covers! Magigi bang available ito sa mga local Video stores like Astrovision and Odyssey? I was disappointed kc ung Ina, Kapatid Anak hindi naging available sa local stores
Post by: rse on Jul 24, 2007 at 01:12 AM
(http://i77.photobucket.com/albums/j63/jojodevera/024.jpg)
Vincent Nebrida gave me complimentary advanced copies of Cine Filipino's soon to be released DVD's...
just finished watching Tatlo, Dalawa, Isa, next is Insiang which was mastered from the same print screened at last year's New York Film Festival then tomorrow it's Tinimbang Ka Ngunit Kulang.
Hi Jojo,
How's the quality of the transfer? Can't wait for these titles. I haven't yet seen Tatlo, Dalawa, Isa -- and wait, a mastered copy of Insiang, I'm drooling now!!!
I hope that they update their site soon. Some of the titles that are available now are not even available online on their site.
Post by: jdv1229 on Jul 24, 2007 at 06:55 AM
the transfer as expected of Unitel DVD's is on par with their other releases with Insiang being the best in the lot. they used the same 35mm print which was screened at the New York Film Festival last year with a 1.85:1 aspect ratio in the best quality available. they are going to update their website very soon.
Post by: thegoodbyeguy on Jul 26, 2007 at 08:48 PM
I was surprised to find that Sharon's DEAR HEART is available on dvd and vcd. I have never thought I would see the day that her first lead starrer would be available in video. I even thought it was out-of-print already before. It was release by an unknown distributor. Too bad, the cover art was poorly conceived. Malabo ang pictures. Still, a must-have for Sharon's fan or just collecting retro movies.
Post by: sosy_high on Jul 26, 2007 at 08:52 PM
hi Ron!
the transfer as expected of Unitel DVD's is on par with their other releases with Insiang being the best in the lot. they used the same 35mm print which was screened at the New York Film Festival last year with a 1.85:1 aspect ratio in the best quality available. they are going to update their website very soon.
magiging available po ba ang mga ito sa local market lyk Astrovision, astroplus at odyssey?
Post by: jdv1229 on Jul 26, 2007 at 08:55 PM
Post by: jdv1229 on Jul 26, 2007 at 09:05 PM
http://sari-saringsinengpinoy.blogspot.com/2007/07/maynila-sa-mga-kuko-ng-aliw.html (http://sari-saringsinengpinoy.blogspot.com/2007/07/maynila-sa-mga-kuko-ng-aliw.html)ftp://
Post by: sosy_high on Jul 26, 2007 at 09:09 PM
i believe they will be available at your local video stores as well...
*sighs* sana nga...pero I read ur post...u said na baka sa November available na...sana nga...I would be very sad kapag d naging available...
Post by: jdv1229 on Jul 26, 2007 at 09:11 PM
Post by: keating on Jul 26, 2007 at 09:13 PM
Aliwan Paradise
http://sari-saringsinengpinoy.blogspot.com/2007/07/maynila-sa-mga-kuko-ng-aliw.html (http://sari-saringsinengpinoy.blogspot.com/2007/07/maynila-sa-mga-kuko-ng-aliw.html)ftp://
Your screencaps are so craping good! Can't wait to see it!
Post by: jdv1229 on Jul 26, 2007 at 09:17 PM
Post by: sosy_high on Jul 26, 2007 at 09:20 PM
subject to change kasi ang release dates nila... most of the time delayed but it's worth the wait naman...
yah....sobra! kung november, yay! happy aq kasi birthday month ko yun! hahahahaha can't wait...
Hows the quality of Tinimbang, kuya Jo?
Post by: keating on Jul 26, 2007 at 09:23 PM
thanks a lot! since you mentioned the screencaps, over dinner last Saturday screenwriter Gil Quito told me how much he loved the screencaps and asked how do i choose the scenes included in the collage. i simply told him that they are 15 of my most favorite scenes from the movie...
Is Gil staying in overseas for good? Aside from ITIM & MERIKA, what other films did he wrote?
Post by: jdv1229 on Jul 26, 2007 at 09:24 PM
Post by: jdv1229 on Jul 26, 2007 at 09:25 PM
Is Gil staying in overseas for good? Aside from ITIM & MERIKA, what other films did he wrote?
he's here for good... as far as i know those were the only two feature films he wrote...
Post by: sosy_high on Jul 26, 2007 at 09:31 PM
the quality of Tinimbang is excellent! it was mastered from the 35mm print from the CCP's permanent collection...
wow! thanks!
Post by: jdv1229 on Jul 26, 2007 at 09:33 PM
Post by: sosy_high on Jul 26, 2007 at 09:33 PM
Aliwan Paradise
http://sari-saringsinengpinoy.blogspot.com/2007/07/maynila-sa-mga-kuko-ng-aliw.html (http://sari-saringsinengpinoy.blogspot.com/2007/07/maynila-sa-mga-kuko-ng-aliw.html)ftp://
wish you'll write an article for Tinimbang ka ngunit kulang using the DVD's SCs...i'll wait for it!
BTW, nice reviews kuya Jojo! and yah like what Pareng pogi said, you're Screen caps are nice!
Post by: jdv1229 on Jul 26, 2007 at 09:37 PM
Post by: sosy_high on Jul 26, 2007 at 09:41 PM
thanks a lot! i already have a VHS copy of Tinimbang but the DVD was quite refreshing to watch... i will post a review of the movie very soon i just have to gather my thougts...
I always visit your blog and read your reviews, and it was great! You're reviews of BATCH 81, INSIANG, KISAPMATA and MAYNILA SA MGA KUKO NG LIWANAG in my opinion is the best...and you're comparison between MAYNILA and MANILA BY NIGHT....good job!
Post by: jdv1229 on Jul 26, 2007 at 09:46 PM
although my blog is all about pinoy films of the 70's & 80's i felt that Aliwan Paradise should be included since it was closely related to Maynila Sa Mga Kuko Ng Liwanag. can you tell which one i prefer? Maynila or Manila By Night? what do you think?
Post by: sosy_high on Jul 26, 2007 at 09:53 PM
thanks a lot sossy!
although my blog is all about pinoy films of the 70's & 80's i felt that Aliwan Paradise should be included since it was closely related to Maynila Sa Mga Kuko Ng Liwanag. can you tell which one i prefer? Maynila or Manila By Night? what do you think?
I think you prefer Manila by Night? ??? I don't know hehehehe!
Post by: jdv1229 on Jul 26, 2007 at 09:56 PM
Post by: sosy_high on Jul 26, 2007 at 10:03 PM
it's obvious right? don't get me wrong, both are great films it's just that at the time Manila By Night was the grittier film...
yah...its pretty obvious...yah Manila was grittier, but I prefer Maynila over Manila by Night...it's just that after I saw Maynila date, It really haunts me (pero hindi kasing tindi ng napanuod ko yung BATCH '81)...but yeah you're right, both films are masterpiece...
I missed the VCD of Manila by Night sa SM! May nakita ako date madame! pero di pa ako interested date! Grrrr! Kainis!
Post by: jdv1229 on Jul 26, 2007 at 10:11 PM
Post by: sosy_high on Jul 26, 2007 at 10:18 PM
Maynila is a lot more haunting... the last frame of Bembol roco was unforgettable. Batch '81 is also my favorite Mike de Leon... you should get the VCD of Manila By Night, it's one movie every film lover should have in their video collection...
Too Bad, naubos na ata ang mga copies...date as in madame talaga, same as with Cain and Abel...ngaun, I only see Relasyon, Babae sa Bintana and a few Cain and Abel...no Manila by Night! pero malay naten bumalik...
Yah, the last frame of Bembol was really unforgettable...
Batch '81 is a classic! That very haunting Alpha Kappa Omega themesong keeps on playing inside my head!
Post by: jdv1229 on Jul 26, 2007 at 10:24 PM
Post by: sosy_high on Jul 26, 2007 at 10:30 PM
any of the classics are worth collectimg so if you still don't have any of the aforementioned titles, grab then while you can..
I have:
Minsa'y Isang gamu Gamo
Sister Stella L
Batch '81
'Merika
Relasyon
Karnal
Macho Dancer
Bayaning 3rd World
Sibak
Miguelito: Ang Batang Rebelde
Segurista
Burlesk Queen
I wanted to collect more classic filipino films!
Post by: jdv1229 on Jul 26, 2007 at 10:36 PM
Post by: sosy_high on Jul 26, 2007 at 10:41 PM
there's still a lot more out there like Ikaw Ay Akin, some Danny Zialcita movies as well. great way to start building your own video collection...
Does Nagalit ang Buwan sa Haba ng Gabi available in VCD/DVD?
tomorrow I will bought Pasan ko ang daigdig, Madrasta and some sharon flicks
Post by: jdv1229 on Jul 27, 2007 at 07:31 AM
Post by: keating on Jul 29, 2007 at 12:25 PM
Post by: jdv1229 on Jul 29, 2007 at 12:32 PM
Post by: keating on Jul 29, 2007 at 12:36 PM
Post by: jdv1229 on Jul 29, 2007 at 12:41 PM
Post by: sosy_high on Jul 29, 2007 at 12:45 PM
Who among the tres-marias, the better filmmaker? Joel Lamangan, Gil Portes, Mel Chionglo? We bumped into these three people during the Cinemalaya at the CCP. ;D
Definetely Mel Chionglo
Post by: keating on Jul 29, 2007 at 12:51 PM
i wouldn't consider Bakit May Kahapon Pa? as Lamangan's best, he hasn't come up with one yet... as for Gil Portes, he did 'Merika which benefited from an excellent screenplay while Miss X was less convoluted than Carnival Queen both films were just unbearable to watch and Mulanay's biggest failure was characterization or lack thereof.
Forgot MERIKA as one of Portes' best definitely. MULANAY's biggest asset was the casting of Gina Alajar and Jaclyn Jose.
Post by: sosy_high on Jul 29, 2007 at 12:58 PM
Forgot MERIKA as one of Portes' best definitely. MULANAY's biggest asset was the casting of Gina Alajar and Jaclyn Jose.
Mulanay's famillar...hmmm..tungkol saan itong movie na ito?
Post by: jdv1229 on Jul 29, 2007 at 12:58 PM
Post by: keating on Jul 29, 2007 at 01:05 PM
Post by: sosy_high on Jul 29, 2007 at 01:08 PM
Well I think 'Merika wasn't that good, saved by Nora's great performance...
Post by: jdv1229 on Jul 29, 2007 at 01:12 PM
Post by: sosy_high on Jul 29, 2007 at 01:13 PM
you have to experience life in the US to undesrtand 'Merika
Just my two cents...its been a long time since Ive seen the flick (yung VCD q nga nyan may seal pa, d ko pa pinapanood, hehehehe) maybe cguro ngaung mature na ako magugustuhan ko naren siya...
Post by: Elle Nino on Jul 29, 2007 at 01:42 PM
Gusto ko ang usaping ito, sali ako..First time ko na magpost...
Para sa akin, si Gil Portes among the 3 ang pipiliin ko. Nagustuhan ko ang 'Merika, Andrea, at Mga Munting Tinig. Si Lamangan, para sa akin ay overrated. Paulit-ulit lang ang napapanood ko sa mga ginawa niya. Si Chionglo, ang nagustuhan ko lang ay Sinner or Saint. Sumakit ang ulo ko sa Twilight Dancers (tapos nandoon pa si Lamangan who was soooo annoying) ,Sibak, Burlesk King, Lahar, Babaing Hampaslupa.
Hi Jojo. This is Nino from San Francisco
Post by: thegoodbyeguy on Jul 29, 2007 at 02:23 PM
Quote from: sosy_high, posted today at 01:13 PM
Just my two cents...its been a long time since Ive seen the flick (yung VCD q nga nyan may seal pa, d ko pa pinapanood, hehehehe) maybe cguro ngaung mature na ako magugustuhan ko naren siya...
Hey, guess what? Just watched 'Merika VCD last night. I think your appreciation with this movie begins when you watch it again and again. But that's just me. Or, yes you have to experience it yourself to embrace the movie. I admit at first that I don't get why the movie is being hailed but then again I was too young then, eventually, the movie grows on you. I had a sister who has a family who lives on the same city and state: Jersey City, New Jersey. They would tell me what kind of life they have there. I may also say that I was able to travel outside the country na rin and even if the location is only an Asian country, I could feel what those filipino's felt when they were not in their own country.
I think 'Merika is Portes' best. :)
Post by: rse on Jul 29, 2007 at 04:47 PM
Gabby Fernandez
Just saw the dvd and what can I say? Whoah, the transfer is really great, so typical of the new pinoy dvd releases that I've been seeing lately.
Basically that's the only good thing that I can say about this movie. For me it it's a total waste of time seeing it. "Weekend at Bernie's" at least is in parts funny. This is not!
And Boyet de Leon trying to do a John Travolta...revolting!
Post by: thegoodbyeguy on Jul 29, 2007 at 07:17 PM
CinemaOne will have their KOOL PINOY KLASSIKS 2ND ANNUAL CINEMA ONE CLASSICS FILM FESTIVAL come August 1-5 at SM Megamall. It will showcase the films of Dolphy (Captain Barbell), Charito Solis (Malvarosa), Dolphy and Wengweng (Da Best in The West), Nora Aunor (Bona), Dina Bonnevie (Temptation Island), Charo Santos (Kakabakaba Ka Ba?), Alma Moreno (nympha) among others. You can check out CinemaOne.tv for further screenings.
Post by: thegoodbyeguy on Jul 29, 2007 at 07:28 PM
I was quite surprised and literally got goosebumps when I saw Charito Solis in full 'Our Lady of Lourdes' regalia as it was published today in The Philippine Star (July 29, 2007), featured in Remember When? column. She is indeed a saint personified in the said pictorial. ANG LANGIT SA LUPA (1968) is the title of the film where she appeared as the aforementioned saint. Is the print still existing?
Post by: jdv1229 on Jul 29, 2007 at 08:18 PM
Hello to everyone...
Gusto ko ang usaping ito, sali ako..First time ko na magpost...
Para sa akin, si Gil Portes among the 3 ang pipiliin ko. Nagustuhan ko ang 'Merika, Andrea, at Mga Munting Tinig. Si Lamangan, para sa akin ay overrated. Paulit-ulit lang ang napapanood ko sa mga ginawa niya. Si Chionglo, ang nagustuhan ko lang ay Sinner or Saint. Sumakit ang ulo ko sa Twilight Dancers (tapos nandoon pa si Lamangan who was soooo annoying) ,Sibak, Burlesk King, Lahar, Babaing Hampaslupa.
Hi Jojo. This is Nino from San Francisco
hello Nino!
finally you're here! i did like 'Merika and some of Gil Portes' earlier works like Sa Piling Ng Mga Sugapa and Wanted Wives. i also loved Pusong Uhaw and Bukas May Pangarap but like 'Merika, both films benefited from an amazing screenplay. Mel Chionglo on the other hand didn't simply follow the script of the films i mentioned earlier but he took the material and gave the movies it's own unique look...
Post by: oggsmoggs on Jul 29, 2007 at 08:27 PM
Post by: jdv1229 on Jul 29, 2007 at 08:42 PM
Classics, Blocksbusters and Indie Gems Run in Cinema One’s KOOL PINOY KLASSIKS
Premiere Pinoy Movie Cable Channel Cinema One continues its bid for cinematic domination with the 2nd Annual Kool Pinoy Klassiks Celebration kicking off starting August 1 to August 5 at the Cinema 1 of the SM Megamall.
With the success of Cinema One's Anniversary Classic Film Festival last year, Cinema One this time features a combination of hit independent, digital and mainstream films. Select films to run also feature stars that initially stratosphered them to celebrity prominence. An added feature will be a sentimental tribute to Regal's beloved director Joey Gosiengfiao whereby the audience is afforded the opportunity to get into the persona of a filmmaker whose perspectives reflect through his playful movies and their distinct appeal. The festival also salutes the best of LVN Pictures, the hilarious humor of Dolphy in his comedy films and the best horror movies of Philippine cinema.
Kool Pinoy Klassiks will kick off on August 1 Wednesday, starting with Captain Barbell starring Comedy King Dolphy and Lotis Key in one of their more popular hits together. Dolphy stars in the title role, with Ting-Ting as his alter ego because of his rid-thinness. Little did anybody know he has the superpowers that could save mankind. The beautiful classic Malvarosa is programmed at mid-afternoon. This 1958 LVN classic stars Charito Solis who portrays a character whose strength of spirit made her a triumphant survivor amidst life’s burdens. In the evening will be the Cinema One Originals' Pandanggo. This digifilm stars Chin Chin Gutierrez and Raymond Bagatsing who get entangled in the interspersing of three different stories. Finally closing the day will be La Paloma - a drama that sets Celia Rodriguez against her sister who is her greatest rival in everything.
August 2, Thursday will be opened by Da Best in the West with Dolphy, Weng Weng and Lito Lapid in their first and last successful screen trio by RVQ Productions in 1981. After that will be the Cinema One 2006 digifilm Raket Ni Nanay starring Mark Gil, Sarsi Emmanuel and Archie Adamos who are connected by their struggles and compromises they give into. This will be followed by Mutya ng Pasig, the 1950 LVN classic starring Jose Padilla, Jr. and Rebecca Gonzales. Next in the lineup is Rekados, the Cinema One Original 2006 finalist by director Paolo Herras starring Meryl Soriano, Eula Valdez and Boots Anson Roa whose stories are intertwined by their romantic lives. Final film for the day is Regal Film’s 1980 sensual classic Bedspacers starring Alma Moreno and Rio Locsin.
Friday August 3 starts with the RVQ comic hit Fefita Fofongay starring Dolphy and Rosanna Ortiz. One of Star Cinema’s highest grossing films Feng Shui follows after, headed by Kris Aquino, who accidentally picks up a lone bagua mirror unknown initially and causes compromising advents of good and bad lucks. Shortly after will be the classic Kundiman ng Lahi. This 1959 LVN classic of director Lamberto Avellana stars Charito Solis, Eddie Rodriguez, Joseph de Cordova and Rosa Aguirre in a tale of difficult lives meeting difficult choices for the redemption of oneself. At 5:30 pm will be Sa North Diversion Road, a Cinema One 2006 digifilm starring Irma Adlawan and John Arcilla in a tale of infidelity of many different ways, through many different roads. The next will be Biyaya ng Lupa starring Rosa Rosal, Tony Santos, Leroy Salvador, Joseph de Cordova and Marita Zobel. This classic is one of the Filipino gems exhibited in an international film festival and won acclaims and awards and noticed for its cast. The night will be capped by the amusing Nights of Serafinastarring Georgia Ortega, John Apacible, Mike Magat and a young Angelika dela Cruz. This 1996 Regal Films camp is where the trademark gay-ish line ‘walang nangyari sa barko!’ marked to pop consciousness.
Earliest for Saturday August 4 will be Katorse. This 1980 Regal Film classic gem placed Dina Bonnevie to stardom with a raw yet effective performance of a rich girl gone wild who pays a horrifying price for it in the end. This is followed by the action comedy Dolphy’s Angels with Carmi Martin and Yellen Catral. This 1980 RVQ Productions hit sets the John & Marsha popularity to another dimension when Dolphy becomes a secret agent to solve a crime alongside his lovely consorts. Huk Sa Bagong Pamumuhay follows right after. It stars Jose Padilla, Jr. and Celia Flor. Next will be the digifilm The Woven Stories of the Other. The 1980 great Lino Brocka film Bona is next, starring Nora Aunor and Philip Salvador. Here’s where idolatry and blind romance lead to a horrifying crime by the so-called weak. Finale film of the day is Tempatation Island. This Joey Gosengfiao masterpiece which stars Dina Bonnevie, Azenith Briones, Jennifer Cortez, Deborah Sun and Bambi Arambulo revolves around these women whose personal idiosyncrasies set the story’s amusing pace when they get lost in an isolated island.
The last day of Kool Pinoy Klassiks, August 5, Sunday will be lead by La Paloma and followed by Kakabakaba Ka Ba?with Christopher de Leon and Charo Santos in 1980. Badjao, an LVN gem in 1957 stars Rosa Rosal and Tony Santos follows right after. The event will be culminated by no less than the classic film, Mutya ng Pasig.
The 2nd Annual Kool Pinoy Klassiks is helmed and produced by Cinema One in its fervent support for local entertainment. It is one of the strongest channels of CPI (Creative Programs, Incorporated), a subsidiary of ABS-CBN, which prides itself as a content company.
Post by: oggsmoggs on Jul 30, 2007 at 12:58 PM
Post by: X44 on Jul 30, 2007 at 01:41 PM
My own take (http://pelikula.blogspot.com/2006/11/squatterpunk-iskwaterpangk.html) .
Did you see this during the live screening last Saturday? Wanted to go but had an opening to attend to. Sayang.
Post by: X44 on Jul 30, 2007 at 01:46 PM
(http://i77.photobucket.com/albums/j63/jojodevera/klasiks.jpg)
This is cool. I'm keen on Bona and Biyaya Ng Lupa as I haven't seen those yet and Temptation as I haven't seen that in a long while but what looks really fun to watch are Captain Barbell and Fefita Fofongay. Sayang walang Omeng o Fung Ku. Hehe. ;D
Post by: sosy_high on Jul 30, 2007 at 01:48 PM
"Lulubong lilitaw ang mga kalansay!" ;D I miss my childhood days...
Post by: oggsmoggs on Jul 30, 2007 at 01:48 PM
Nice one,oggs.
My own take (http://pelikula.blogspot.com/2006/11/squatterpunk-iskwaterpangk.html) .
Did you see this during the live screening last Saturday? Wanted to go but had an opening to attend to. Sayang.
Yup, saw it last Saturday. You saw this during last year's Cinemanila right? Was there a live band?
I'm gonna catch a bunch from the Cinema One Classics; This is really a bad time for festivals for me, since the Bar Examinations is just a month away (and I don't want to flunk).
Post by: X44 on Jul 30, 2007 at 02:04 PM
Yeah those klasiks look fun. Plus Cinemanila's coming up. I hate that I missed Cinemalaya this year. I'm hoping I eventually see some of these. I haven't seen any from last year's entries. Work is a four letter word. :)
Good luck with the bar, oggs. ;D
Post by: oggsmoggs on Jul 30, 2007 at 02:11 PM
No no band when I saw it. And I used to listen to Bobby Balingit's band the Wuds,too.Too bad.
Yeah those klasiks look fun. Plus Cinemanila's coming up. I hate that I missed Cinemalaya this year. I'm hoping I eventually see some of these. I haven't seen any from last year's entries. Work is a four letter word. :)
Good luck with the bar, oggs. ;D
Thanks Dodo,
Once I'm done with the bar... I can do anything I want. Sigh.
Post by: keating on Jul 30, 2007 at 07:36 PM
I'll abstain from answering my question. ;D
Post by: jdv1229 on Jul 30, 2007 at 07:58 PM
Post by: keating on Jul 30, 2007 at 08:09 PM
Post by: sosy_high on Jul 30, 2007 at 08:58 PM
Another question to answer.....who among the three enfant terrible of Philippine Cinema is the better filmmaker? Celso Ad Castillo, Peque Gallaga, Mario O'Hara?
I'll abstain from answering my question. ;D
Peque Gallaga!
Post by: pink moon on Jul 30, 2007 at 09:34 PM
Another question to answer.....who among the three enfant terrible of Philippine Cinema is the better filmmaker? Celso Ad Castillo, Peque Gallaga, Mario O'Hara?
I'll abstain from answering my question. ;D
Mario O'Hara, easily.
But love, love Burlesk Queen and Pagputi ng Uwak, Pag-itim ng Tagak by Castillo.
Post by: jdv1229 on Jul 31, 2007 at 07:03 AM
Are they on the same age group, Jojo?
i think O'Hara is the youngest of the three but i maybe wrong...
Post by: Noel_Vera on Aug 01, 2007 at 04:00 AM
Post by: rse on Aug 01, 2007 at 04:41 AM
http://www.kabayancentral.com/video/others/cpotsnakesis.html
Has any of you purchased this vcd of Snake Sisters? Is this uncut?
Post by: keating on Aug 01, 2007 at 08:07 AM
O'Hara, above all. But for sheer visual talent, Castillo is one of the best, as O'Hara himself admitted.
I wish The Kid would go back again to the kind of films he churned out in the 70's and early 80's. Even his exploitation movies have high visual value.
Noel good to see you back on-line in the forum.
Post by: Elle Nino on Aug 01, 2007 at 10:04 AM
Another question to answer.....who among the three enfant terrible of Philippine Cinema is the better filmmaker? Celso Ad Castillo, Peque Gallaga, Mario O'Hara?
I'll abstain from answering my question. ;D
Mario O'Hara.
Post by: Noel_Vera on Aug 01, 2007 at 01:21 PM
Post by: oggsmoggs on Aug 02, 2007 at 01:53 AM
Post by: oggsmoggs on Aug 02, 2007 at 06:53 PM
Post by: keating on Aug 02, 2007 at 08:07 PM
Post by: oggsmoggs on Aug 03, 2007 at 08:20 PM
Post by: keating on Aug 04, 2007 at 01:02 PM
(http://i77.photobucket.com/albums/j63/jojodevera/klasiks.jpg)
Classics, Blocksbusters and Indie Gems Run in Cinema One’s KOOL PINOY KLASSIKS
Premiere Pinoy Movie Cable Channel Cinema One continues its bid for cinematic domination with the 2nd Annual Kool Pinoy Klassiks Celebration kicking off starting August 1 to August 5 at the Cinema 1 of the SM Megamall.
With the success of Cinema One's Anniversary Classic Film Festival last year, Cinema One this time features a combination of hit independent, digital and mainstream films. Select films to run also feature stars that initially stratosphered them to celebrity prominence. An added feature will be a sentimental tribute to Regal's beloved director Joey Gosiengfiao whereby the audience is afforded the opportunity to get into the persona of a filmmaker whose perspectives reflect through his playful movies and their distinct appeal. The festival also salutes the best of LVN Pictures, the hilarious humor of Dolphy in his comedy films and the best horror movies of Philippine cinema.
Kool Pinoy Klassiks will kick off on August 1 Wednesday, starting with Captain Barbell starring Comedy King Dolphy and Lotis Key in one of their more popular hits together. Dolphy stars in the title role, with Ting-Ting as his alter ego because of his rid-thinness. Little did anybody know he has the superpowers that could save mankind. The beautiful classic Malvarosa is programmed at mid-afternoon. This 1958 LVN classic stars Charito Solis who portrays a character whose strength of spirit made her a triumphant survivor amidst life’s burdens. In the evening will be the Cinema One Originals' Pandanggo. This digifilm stars Chin Chin Gutierrez and Raymond Bagatsing who get entangled in the interspersing of three different stories. Finally closing the day will be La Paloma - a drama that sets Celia Rodriguez against her sister who is her greatest rival in everything.
August 2, Thursday will be opened by Da Best in the West with Dolphy, Weng Weng and Lito Lapid in their first and last successful screen trio by RVQ Productions in 1981. After that will be the Cinema One 2006 digifilm Raket Ni Nanay starring Mark Gil, Sarsi Emmanuel and Archie Adamos who are connected by their struggles and compromises they give into. This will be followed by Mutya ng Pasig, the 1950 LVN classic starring Jose Padilla, Jr. and Rebecca Gonzales. Next in the lineup is Rekados, the Cinema One Original 2006 finalist by director Paolo Herras starring Meryl Soriano, Eula Valdez and Boots Anson Roa whose stories are intertwined by their romantic lives. Final film for the day is Regal Film’s 1980 sensual classic Bedspacers starring Alma Moreno and Rio Locsin.
Friday August 3 starts with the RVQ comic hit Fefita Fofongay starring Dolphy and Rosanna Ortiz. One of Star Cinema’s highest grossing films Feng Shui follows after, headed by Kris Aquino, who accidentally picks up a lone bagua mirror unknown initially and causes compromising advents of good and bad lucks. Shortly after will be the classic Kundiman ng Lahi. This 1959 LVN classic of director Lamberto Avellana stars Charito Solis, Eddie Rodriguez, Joseph de Cordova and Rosa Aguirre in a tale of difficult lives meeting difficult choices for the redemption of oneself. At 5:30 pm will be Sa North Diversion Road, a Cinema One 2006 digifilm starring Irma Adlawan and John Arcilla in a tale of infidelity of many different ways, through many different roads. The next will be Biyaya ng Lupa starring Rosa Rosal, Tony Santos, Leroy Salvador, Joseph de Cordova and Marita Zobel. This classic is one of the Filipino gems exhibited in an international film festival and won acclaims and awards and noticed for its cast. The night will be capped by the amusing Nights of Serafinastarring Georgia Ortega, John Apacible, Mike Magat and a young Angelika dela Cruz. This 1996 Regal Films camp is where the trademark gay-ish line ‘walang nangyari sa barko!’ marked to pop consciousness.
Earliest for Saturday August 4 will be Katorse. This 1980 Regal Film classic gem placed Dina Bonnevie to stardom with a raw yet effective performance of a rich girl gone wild who pays a horrifying price for it in the end. This is followed by the action comedy Dolphy’s Angels with Carmi Martin and Yellen Catral. This 1980 RVQ Productions hit sets the John & Marsha popularity to another dimension when Dolphy becomes a secret agent to solve a crime alongside his lovely consorts. Huk Sa Bagong Pamumuhay follows right after. It stars Jose Padilla, Jr. and Celia Flor. Next will be the digifilm The Woven Stories of the Other. The 1980 great Lino Brocka film Bona is next, starring Nora Aunor and Philip Salvador. Here’s where idolatry and blind romance lead to a horrifying crime by the so-called weak. Finale film of the day is Tempatation Island. This Joey Gosengfiao masterpiece which stars Dina Bonnevie, Azenith Briones, Jennifer Cortez, Deborah Sun and Bambi Arambulo revolves around these women whose personal idiosyncrasies set the story’s amusing pace when they get lost in an isolated island.
The last day of Kool Pinoy Klassiks, August 5, Sunday will be lead by La Paloma and followed by Kakabakaba Ka Ba?with Christopher de Leon and Charo Santos in 1980. Badjao, an LVN gem in 1957 stars Rosa Rosal and Tony Santos follows right after. The event will be culminated by no less than the classic film, Mutya ng Pasig.
The 2nd Annual Kool Pinoy Klassiks is helmed and produced by Cinema One in its fervent support for local entertainment. It is one of the strongest channels of CPI (Creative Programs, Incorporated), a subsidiary of ABS-CBN, which prides itself as a content company.
Its good to see that they use the print of LVN classics. It was stored in a gold-plated circle tin case at the lobby ready to view before the screening starts.
I'll catch Mike de Leon's KAKABA KA BA, and Gosiengfiao's LA PALOMA & NYMPHA tomorrow. If my time permits me, I'll catch TEMPTATION ISLAND tonight at 9:30 pm.
Post by: wedge on Aug 05, 2007 at 06:12 AM
I probably can't visit all that often. But I'm sure ya'll recognize my voice when I'm in the room. ;D
You're in some kind of project-that-demands-attention, Noel? Quite surprised that you're ditching updates on the Yahoo Groups...
Your blog link's still up, anyhow.
Post by: wedge on Aug 05, 2007 at 06:16 AM
Its good to see that they use the print of LVN classics. It was stored in a gold-plated circle tin case at the lobby ready to view before the screening starts.
I'll catch Mike de Leon's KAKABA KA BA, and Gosiengfiao's LA PALOMA & NYMPHA tomorrow. If my time permits me, I'll catch TEMPTATION ISLAND tonight at 9:30 pm.
Would that be available on Cinema One International? I'm not certain of the differences between local and international schedules.
Last good pinoy flick I've seen (and courtesy of, what else, cinema one) was Sa North Diversion Road. Hopefully, an influx could sway us off a marathon of Claudine Barretto's cheesy romance films. Hehe.
Post by: keating on Aug 05, 2007 at 09:38 AM
I think its available on Cinema One's global channel, wedge.
Post by: Noel_Vera on Aug 05, 2007 at 03:00 PM
You're in some kind of project-that-demands-attention,
Yeah. A job.
Post by: keating on Aug 05, 2007 at 10:05 PM
Close to perfection. Reminds me of Jean Renoir's RULES OF THE GAME if Gosiengfiao added more colorful characters in the film. Perfect, perfect setting and atmosphere. The brilliant Celia Rodriguez adds another unforgettable character in her list of filmography. Much better than Wilfredo Nolledo's segment in another Gosiengfiao flick.....BABAE, NGAYON AT KAILANMAN. Another fascinating film from the camp master. I wish Cinema One would find the other cult classics from the archive of Sine Pilipino Productions including ZOOM ZOOM SUPERMAN & SI POPEYE ATBP.
Post by: oggsmoggs on Aug 05, 2007 at 10:17 PM
Post by: oggsmoggs on Aug 06, 2007 at 09:58 PM
Post by: oggsmoggs on Aug 09, 2007 at 01:05 AM
Philippine Cinema on the Verge of Redemption (http://oggsmoggs.blogspot.com/2007/08/philippine-cinema-on-verge-of.html)
Post by: oggsmoggs on Aug 14, 2007 at 03:55 PM
Post by: rse on Aug 15, 2007 at 05:54 PM
http://abscbn.wmod.llnwd.net/a583/o1/trailers/alkitrangdugo-trailer.wmv
This looks like Lord of the Flies to me. Has anyone seen this? Is it any good?
Post by: jdv1229 on Aug 15, 2007 at 07:13 PM
Post by: ralfy on Aug 16, 2007 at 01:43 AM
Post by: thegoodbyeguy on Aug 18, 2007 at 10:30 PM
I remember Ch. 2 shown Alkitrang Dugo on afternoon waaaay back. Too bad, the print is very dark even with daylight scenes that I forego watching it.
Post by: sosy_high on Aug 19, 2007 at 11:14 AM
Post by: keating on Aug 19, 2007 at 11:19 AM
GABI NG LAGIM NGAYON (Cirio Santiago/Cesar Gallardo, 1980)
The recent visit of renowned filmmaker Quentin Tarantino at Cinemanila dig my interests on the films of Cirio Santiago. I only know him as one of the brains behind Premiere Productions and I'm not really sure also if he helmed one of the best horror flick that came out in the 70's, the Perla Bautista starrer PAGSAPIT NG DILIM wherein she wreaks havoc in a barrio as the manananggal.
GABI NG LAGIM NGAYON based on a radio serial brought me goosebumps during the 80's opens to a scene where breathtaking winds blast the windows and furnitures inside the room of the late Charito Solis. Solis is one great actress whether screaming and emoting which comes to my mind also her outing in the PRIDYEDER episode of the ist SHAKE RATTLE & ROLL. The mansion where she lives adds a horrifying atmosphere guided by the excellent production design by Fiel Zabat. We are introduced to her son played by Mark Gil and his wife Chanda Romero. A series of strange things occur in the house and Solis is being haunted by her traumatic past. The movie succeeds as a creepy ghost story, Santiago carved some shock value with the help of Gallardo in infusing some of the supernatural elements in the movie without going to omnibus, twin biller or a trilogy. There's the kulam and barang in a barrio, the unforgettable espiritista who doesn't get old played by Rosemarie Gil and daughter Cherie Gil and bombshell Rio Locsin wreaks havoc as a ghost before the finale of the movie. The ending is a blast in supernatural elements. Watch it at night with lights off and prepared for a scream.
GABI NG LAGIM NGAYON can be seen on the archive of Cinema One.
Post by: keating on Aug 22, 2007 at 06:50 PM
KONTROBERSYAL (Lino Brocka, 1980)
A peek into the world of the showbiz industry which zeroes on the aspiring bold actress played by Gina Alajar. Charo Santos excels as the manipulative, scheming star builder, producer and director. Brocka protege Philip Salvador completes the love triangle. All the hallmark of a Brocka film are here, the intense confrontation scenes, extreme close-ups during the dramatic scenes. I was surprised that this film has nudities thrown in. Bold, daring, let's you see again the hypocrisy of what's happening behind the celluloid and camera.
Post by: jdv1229 on Aug 22, 2007 at 07:09 PM
(http://i103.photobucket.com/albums/m132/keating_01/Gabi_Ng_Lagim_Ngayon.jpg)
GABI NG LAGIM NGAYON (Cirio Santiago/Cesar Gallardo, 1980)
The recent visit of renowned filmmaker Quentin Tarantino at Cinemanila dig my interests on the films of Cirio Santiago. I only know him as one of the brains behind Premiere Productions and I'm not really sure also if he helmed one of the best horror flick that came out in the 70's, the Perla Bautista starrer PAGSAPIT NG DILIM wherein she wreaks havoc in a barrio as the manananggal.
GABI NG LAGIM NGAYON based on a radio serial brought me goosebumps during the 80's opens to a scene where breathtaking winds blast the windows and furnitures inside the room of the late Charito Solis. Solis is one great actress whether screaming and emoting which comes to my mind also her outing in the PRIDYEDER episode of the ist SHAKE RATTLE & ROLL. The mansion where she lives adds a horrifying atmosphere guided by the excellent production design by Fiel Zabat. We are introduced to her son played by Mark Gil and his wife Chanda Romero. A series of strange things occur in the house and Solis is being haunted by her traumatic past. The movie succeeds as a creepy ghost story, Santiago carved some shock value with the help of Gallardo in infusing some of the supernatural elements in the movie without going to omnibus, twin biller or a trilogy. There's the kulam and barang in a barrio, the unforgettable espiritista who doesn't get old played by Rosemarie Gil and daughter Cherie Gil and bombshell Rio Locsin wreaks havoc as a ghost before the finale of the movie. The ending is a blast in supernatural elements. Watch it at night with lights off and prepared for a scream.
GABI NG LAGIM NGAYON can be seen on the archive of Cinema One.
they haven't shown this movie on cinema one global. i wonder why?
Post by: keating on Aug 22, 2007 at 07:13 PM
Post by: jdv1229 on Aug 22, 2007 at 07:18 PM
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Post by: jdv1229 on Aug 22, 2007 at 07:27 PM
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Post by: jdv1229 on Aug 22, 2007 at 07:50 PM
Post by: keating on Aug 22, 2007 at 07:51 PM
Post by: keating on Aug 25, 2007 at 12:05 PM
(http://i103.photobucket.com/albums/m132/keating_01/Lavdiaz.jpg)
Lav Diaz shooting KAGADANAN SA BANWAAN NING MGA ENGAKANTO at the house of the late Joey Gosiengfiao. Photo courtesy of Raya Martin.
Post by: Noel_Vera on Aug 25, 2007 at 04:03 PM
Post by: keating on Aug 25, 2007 at 05:33 PM
Any idea where did Lino based the three characters? Charo as the manipulative producer, Philip the lover and of course there are lots of Gina Alajar character working in the industry now, waiting to be exploited again.
Post by: jdv1229 on Aug 25, 2007 at 07:18 PM
Post by: keating on Aug 25, 2007 at 07:22 PM
Post by: jdv1229 on Aug 25, 2007 at 07:27 PM
Post by: keating on Aug 25, 2007 at 07:50 PM
Post by: jdv1229 on Aug 25, 2007 at 08:23 PM
Post by: Elle Nino on Aug 26, 2007 at 11:57 AM
i still think Charo Santos delivered her finest performance ever in this film.
Jojo, I agree with you. Charo was indeed very good in this movie. I saw this in a second-run theatre in our province because of curiosity. Isagani Cruz (of Manunuri) and Charo had a rift (daw) according sa isang magazine. Her performance was snubbed by The Manunuri and of course, in Isagani's review. Philip was quoted (daw) saying that the movie was close to a porno. I was not sure if these were created to make people watch it. Well, they worked for me. I do remember Gina taking her clothes off pero nakatlikod and it was quick.
Post by: Noel_Vera on Aug 26, 2007 at 01:42 PM
Joking. I'll try ask around.
Post by: Elle Nino on Aug 26, 2007 at 02:35 PM
I don't know. Is Charo playing herself?
Joking. I'll try ask around.
That is really funny. I remember her image was mahinhin and kimi, malaking kaibahan sa kanyang papel sa pelikula at sa 'totoong buhay'.
Mr. Vera, I like your 100 Greatest Filipino Films list. Wrong thread pero I just want to mention that.
Post by: keating on Aug 26, 2007 at 06:27 PM
I don't know. Is Charo playing herself?
Joking. I'll try ask around.
Noel, that was indeed really funny, hehehe. ;D
Gina's most daring role is in Brocka's KONTROBERSYAL, SALOME is pure kindergarten stuff when it comes to nudity if that was her and not double. But there's Gina again in Elwood Perez' DIBORSYADA.
Post by: Noel_Vera on Aug 27, 2007 at 11:30 AM
Thanks, Jojo. Would appreciate you dropping that comment in the blog. Like an autograph, naks.
Charo's an excellent villainess. Remember Gumapang Ka sa Lusak?
Post by: keating on Aug 27, 2007 at 02:34 PM
"Compared to Kris Aquino, I'm a nun!"
;D
Post by: jdv1229 on Aug 28, 2007 at 06:38 PM
Post by: keating on Aug 28, 2007 at 06:43 PM
Trivia courtesy of RMN:
What defunct film company had Bernal, Guillen, Vitug and Roco as board members?
Post by: jdv1229 on Aug 28, 2007 at 06:47 PM
about the trivia was it Trigon Cinema Arts? i may be wrong...
Post by: keating on Aug 28, 2007 at 06:50 PM
Nah, not Trigon Cinema Arts and Bancom Audiovision. The company folded up in the early 80's another clue for the trivia.
Post by: jdv1229 on Aug 28, 2007 at 06:52 PM
Post by: keating on Aug 28, 2007 at 06:54 PM
Post by: jdv1229 on Aug 28, 2007 at 06:57 PM
Post by: keating on Aug 28, 2007 at 06:59 PM
Post by: jdv1229 on Aug 28, 2007 at 07:07 PM
Post by: keating on Aug 28, 2007 at 07:11 PM
Post by: jdv1229 on Aug 28, 2007 at 07:13 PM
Post by: keating on Aug 28, 2007 at 07:15 PM
They collaborated on the film which stars Dondon Nakar which earned him a Famas best child actor. The other cast include Rosemarie Sonora, Dindo Fernando, Ronaldo Valdez and Divina Valencia.
Post by: Noel_Vera on Aug 29, 2007 at 06:41 AM
Post by: jdv1229 on Aug 29, 2007 at 07:33 AM
Nope....when they separate ways, the former went up north while the other one is in the south who will later make his solo debut at ECP. ;D
They collaborated on the film which stars Dondon Nakar which earned him a Famas best child actor. The other cast include Rosemarie Sonora, Dindo Fernando, Ronaldo Valdez and Divina Valencia.
as far as i know Dondon Nakar never won the FAMAS for Best Child Actor...
Marlon Bautista won in 1973 and Angelo in 1974...
Post by: Noel_Vera on Aug 29, 2007 at 02:03 PM
Post by: X44 on Aug 29, 2007 at 02:43 PM
Least he was working when he passed. (Saw him in a biggish role in that John Lloyd-Bea Alonzo teleserye)
Didn't Zamora have a TV show with his Bruce Lee persona? Something like Kung Fu?
I'm not sure if that was Dragon and/or Dragon Force , Noel. Zamora played a mentally retarded man who turns into a Bruce Lelike master of kung fu when beaten up. Casmot was his cop uncle.
Bit of trivia: when Robert Clouse was casting for the Bruce Lee biopic Dragon:The Bruce Lee Story, Zamora was shortlisted and got that close to being cast. But this was back in the late 70s/early 80s when Matrix-style martial arts boot camp for actors was largely unheard of. So Ramon didn't make it because he wasn't a martial artist. Clouse was all praises about his acting in the interview I read this from,though.
It would be many years later before the film got off the ground with Jason Scott Lee in the lead.
My favorite Zamora movie was something called Return of the Dragon and if I get to see it again, I hope that fight scene in the desert where Zamora beat up what looked like hundreds of enemies and gouged the last one's eyes out is as epic and brutal and Leonesque as I remember. And of course Pedro Penduko.
Post by: jdv1229 on Aug 29, 2007 at 06:44 PM
Action-comedy star Ramon Zamora succumbed to cardiac arrest at a hospital in Marikina City Sunday night.
The 72-year-old actor, who mimicked the fighting style of Bruce Lee, was at his home in Mayamot Village in Antipolo City when he suffered a heart attack.
Relatives rushed Zamora to Marikina Valley Medical Hospital on Sumulong Highway but was declared dead on arrival around 9 p.m. Sunday.
He is survived by his six children, Ranillo, Gigi, Bryan, Gary, Zsa Zsa and John.
They said their father was “strong” and showed no signs of a deteriorating health condition. “Hindi naman po siya nakitaan ng panghihina,” Gigi, 40, said.
His remains lie in state at the Marian Chapel along Marcos Highway in Antipolo City.
Zamora began acting in the early 1970s. He was known for playing the country’s fictional folklore hero, Pedro Penduko.
During his heyday in the 1970s, he starred in the following films “Return of the Dragon”, “Ang Mahiwagang Daigdig ni Pedro Penduko”, “Bruce Liit”, “Karunungang Itim”, and “Peter Pandesal.”
Aside from Penduko, Zamora has also appeared in at least two other superhero-inspired features namely “Dalmasyo Armas” and “Sprakenheit!,” where he spoofed a World War II Nazi general skilled in the martial arts.
In ’77, he played the villain opposite then screen topbillers Tan Tao Liang and Meng Fei in “The Dragon, The Lizard, The Boxer” which was filmed in the Philippines.
He was also seen in other movies like “M.O.N.A.Y. or Misteyks Obda Neyson Adres Yata ni Mr. Shooli” (2007); “Da Adventures of Pedro Penduko” (2006); “Lisensyadong Kamao” (2005); “Pelukang Itim: Agimat Ko Ito for Victory Again” (2005); “Pistolero” (2002); “Eva, Lason kay Adan” (2002); “Sgt. Isaias Marcos... Bawat Hakbang Panganib” (2000); “Isang Lahi, Isang Dugo sa Lupang Pangako” (2000); “Basta Tricycle Driver... Sweet Lover” (2000); “Pedro Penduko II, The Return of the Comeback” (2000); “My Darling Domestic (The Greytest Iskeyp)” 1989; “Me and Ninja Liit” 1988); “Damong Makamandag” (1988); “Lorenzo Ruiz the Saint” (1988); “The Rookies and the Mighty Kids” (1987); “Death Raiders” (1984); “Snake Dragon Connection” (1980); “Ahas sa Pugad Lawin” (1979); “Bruce Liit” (1978); “Hari at ang Alas” (1978); “The Dragon, The Lizard, The Boxer” (1977); “The Interceptors” (1977); “They Call Him Chop-suey” (1975); “Return of The Dragon (1974); Mahiwagang Daigdig Ni Pedro Pendulo (1973) “Eh Kasi Bata”; “Peter Pandesal” and “Dobol Trobol.” Gigi Muñoz David
Post by: keating on Aug 29, 2007 at 07:34 PM
as far as i know Dondon Nakar never won the FAMAS for Best Child Actor...
Marlon Bautista won in 1973 and Angelo in 1974...
Are you sure, man? BTW did you know now the brains behind SUPER LAUGH INN?
I can't forget Ramon Zamora in PEDRO PENDUKO & of course in the horror-comedy flick KARUNUNGANG ITIM in which he fight with a creature who ate babies of pregnant women and use his elongated tongue.
Post by: barrid on Aug 30, 2007 at 09:20 AM
Post by: jdv1229 on Aug 30, 2007 at 10:18 AM
Are you sure, man? BTW did you know now the brains behind SUPER LAUGH INN?
I can't forget Ramon Zamora in PEDRO PENDUKO & of course in the horror-comedy flick KARUNUNGANG ITIM in which he fight with a creature who ate babies of pregnant women and use his elongated tongue.
i'm positive that Dondon never won a FAMAS Best Child Actor Award... i cannot remember who was behind Super Laugh Inn...
Post by: RMN on Aug 30, 2007 at 01:02 PM
Post by: sosy_high on Aug 30, 2007 at 05:01 PM
Filipino actor Ramon Zamora died last August 26 of a heart attack at age 72. he was best known for being the pinoy Bruce Lee but there was more to this martial arts master. he originated the role of Pedro Penduko in Celso Ad Castillo's Ang Mahiwagang Daigdig Ni Pedro Penduko and starred opposite Nino Muhlach in the Regal Films fantasy Peter Pandesal. he will surely be missed!
That's sad....last time I saw him was in Maalaala Mo Kaya episode with Sharlene San Pedro...he did a great job on that episode...it was really heartbreaking
Post by: rse on Aug 31, 2007 at 01:44 AM
http://cinefilipino.com/
Post by: thegoodbyeguy on Aug 31, 2007 at 02:45 AM
^ Yes, nice to see that on cinefilipino.com now. Hope they will add TATLO, DALAWA, ISA as soon as possible.
Post by: thegoodbyeguy on Aug 31, 2007 at 07:04 PM
Amalia Fuentes, a guest on The Sweet Life show this afternoon considered IBULONG MO SA HANGIN (BLOOD/CURSE OF THE VAMPIRES) as one of her memorable movies she has done. She didn't mentioned the other title (KULAY DUGO ANG GABI a.k.a. BLOOD DRINKERS) although she was referring to that other horror she had done with Gerry De Leon. She also said in an interview that she even bought those two DVDs through amazon and lent it to her friends. I wonder if she happened to know that BIG BROADCAST, AMY, SUSIE, TESSIE and BILANGGONG BIRHEN were available in cinefilipino.com?
Post by: Noel_Vera on Sep 01, 2007 at 12:57 AM
Great news on CineFilipino.
Post by: rse on Sep 02, 2007 at 01:28 PM
Mondo Macabro is releasing Silip in a restored, two-disc limited edition DVD:
(http://img212.imageshack.us/img212/9357/silipartmm2.jpg)
http://worldweirdcinema.blogspot.com/2007/08/mondo-macabro-rounds-out-2007-with.html (Oggs Cruz, Oggs' Movie Thoughts review of Silip is quoted on this blog)
http://www.mondomacabrodvd.com/cat3.html
http://www.hkflix.com/xq/asp/filmID.543461/qx/details.htm
Post by: thegoodbyeguy on Sep 02, 2007 at 03:11 PM
^ Nice update and links on SILIP DVD rse. I wonder how limited are these copies.
Post by: thegoodbyeguy on Sep 02, 2007 at 05:02 PM
(http://i174.photobucket.com/albums/w81/thegoodbyeguy/DVD%20INTERNATIONAL%20RELEASE/THEMASSEUR.jpg)
The one released here looks like a 'bootleg' just like Kubrador.
Post by: thegoodbyeguy on Sep 02, 2007 at 05:47 PM
This is the actual synopsis posted on dvdempire.com site:
Starring Ramon Revilla. Life is not easy for an ex-convict, and Lando San Miguel knew it would take courage and perseverance to rebuild his family and start a new life. An island where Lando's uncle was living seemed to be the perfect place to start again. Frightening events and strange coincidences prove that this is no ordinary island. Lando is soon to find his destiny on this island of fear. He is about to come face-to-face with the terror of darkness. It is Lando's horrifying fate to battle the Devil himself!
Does anyone know its tagalog title?
Post by: deweyfinn on Sep 03, 2007 at 02:40 AM
A Ramon Revilla movie called KILLING OF SATAN (1983) directed by Efren C. Pinon will be released internationally on DVD come Sept. 18 to be distributed by Music Video Distribution. No dvd cover yet. I come across this while browsing dvd titles online. I wonder if there be will other tagalog movies to come out of obscurity by this distributor.
This is the actual synopsis posted on dvdempire.com site:
Starring Ramon Revilla. Life is not easy for an ex-convict, and Lando San Miguel knew it would take courage and perseverance to rebuild his family and start a new life. An island where Lando's uncle was living seemed to be the perfect place to start again. Frightening events and strange coincidences prove that this is no ordinary island. Lando is soon to find his destiny on this island of fear. He is about to come face-to-face with the terror of darkness. It is Lando's horrifying fate to battle the Devil himself!
Does anyone know its tagalog title?
KAMPON NI SATANAS?
Post by: thegoodbyeguy on Sep 03, 2007 at 03:50 AM
Quote from: deweyfinn posted today at 02:40AM
KAMPON NI SATANAS?
Thanks deweyfinn. How'd you know that? :)
Post by: pinoymovies on Sep 08, 2007 at 01:52 PM
Amalia Fuentes, a guest on The Sweet Life show this afternoon considered IBULONG MO SA HANGIN (BLOOD/CURSE OF THE VAMPIRES) as one of her memorable movies she has done. She didn't mentioned the other title (KULAY DUGO ANG GABI a.k.a. BLOOD DRINKERS) although she was referring to that other horror she had done with Gerry De Leon. She also said in an interview that she even bought those two DVDs through amazon and lent it to her friends. I wonder if she happened to know that BIG BROADCAST, AMY, SUSIE, TESSIE and BILANGGONG BIRHEN were available in cinefilipino.com?
If you are a Netflix subscriber, The Blood Drinkers is now available in the "Watch Instantly" section.
http://www.netflix.com/WatchNowMovie?dmode=ATAGLANCE&lnkctr=mdp-tab-aag&n=1&movieid=60024492&trkid=203104
Post by: keating on Sep 08, 2007 at 06:12 PM
BROKEN MARRIAGE (Ishmael Bernal, 1983)
How do you surpass a film one year after the former (RELASYON) got rapturous reviews and gain critical acclaim embracing Vilma Santos' grand slam feat? The answer lies in BROKEN MARRIAGE. The opening scene shows a tired Ellen (Vilma) coming home and welcome by the usual nag from her husband Rene (Boyet de Leon). The nag results to a quarrel and exchange of harsh words courtesy by the brilliant script by Jose Carreon. Sounds like KRAMER vs. KRAMER? Nope! BROKEN MARRIAGE is consistent from start to finish. As we see the separation of the married couple, there lies the strength of the film. It never flounders as Bernal added some eccentric characters that Ellen and Rene knows. The technical craftmanship is clever. Manolo Abaya's camera captured immensely the world of Ellen as a tv floor director, same in the job of Boyet as a journalist. Max Jocson's musical score is always a breather in every movie. Classy, rings perfection in every Filipino movie. The production design is superb. Vilma and Boyet acts like a real married couple. Their quiet moments amidst the exhilarating exchange of words rightly convey their message to each other. Classic Bernal!
(http://i103.photobucket.com/albums/m132/keating_01/broken_marriage_scene.jpg)
Post by: thegoodbyeguy on Sep 08, 2007 at 09:08 PM
Quote from: pinoymovies posted today at 01:52PM
If you are a Netflix subscriber, The Blood Drinkers is now available in the "Watch Instantly" section.
http://www.netflix.com/WatchNowMovie?dmode=ATAGLANCE&lnkctr=mdp-tab-aag&n=1&movieid=60024492&trkid=203104
Thanks pinoymovies for the info, I'll recommend this to my friends. Come October 31st I will have once again a plethora of horror movies to watch although I do watch them often. I will broaden my selections this time, that is, will include these two Gerry De Leon classics along with other pinoy horror movies that really delivers.:)
Post by: jdv1229 on Sep 11, 2007 at 10:06 AM
http://cdn-ll-static.viddler.com/flash/publisher.swf?key=b7237bf2&viewToken=4397a7ab&openURL=83237706
Post by: keating on Sep 12, 2007 at 02:29 PM
Sharon was amazed after the take.
from the documentary SIGNED: LINO BROCKA
Post by: sosy_high on Sep 12, 2007 at 06:05 PM
Post by: RMN on Sep 12, 2007 at 06:35 PM
Post by: jdv1229 on Sep 12, 2007 at 06:52 PM
http://cdn-ll-static.viddler.com/flash/publisher.swf?key=5b2ea865&viewToken=41a1403c&openURL=103146939
Post by: keating on Sep 12, 2007 at 07:20 PM
Post by: rse on Sep 13, 2007 at 12:57 AM
the ultimate Nora Aunor performance in a classic film from 1982....
http://cdn-ll-static.viddler.com/flash/publisher.swf?key=5b2ea865&viewToken=41a1403c&openURL=103146939
Hi Jojo,
Please, please upload Bona next.
Many thanks,
RSE
Post by: jdv1229 on Sep 13, 2007 at 06:41 AM
Post by: sosy_high on Sep 13, 2007 at 02:07 PM
Hi Jojo,
Please, please upload Bona next.
Many thanks,
RSE
Meron na sa Youtube...atsaka yung Bulaklak meron din
Post by: rse on Sep 13, 2007 at 06:13 PM
go to youtube and search for Bona...
Found it there but it's not complete, it ends in part 15 :(
Post by: sosy_high on Sep 13, 2007 at 06:19 PM
Found it there but it's not complete, it ends in part 15 :(
continuation:
pelikulangpilipino.multiply.com
Post by: rse on Sep 17, 2007 at 03:59 AM
continuation:thanks ;D
pelikulangpilipino.multiply.com
Post by: oggsmoggs on Sep 17, 2007 at 10:35 AM
Post by: Noel_Vera on Sep 19, 2007 at 01:23 AM
Insiang and Tinimbang available in September (http://criticafterdark.blogspot.com/2007/08/insiang-tinimbang-on-cinefilipinos-pre.html)
Pa Siyam (Nine Days, Erik Matti, 2004) (http://criticafterdark.blogspot.com/2007/08/pa-siyam-erik-matti-2004_31.html)
Post by: rse on Sep 20, 2007 at 12:36 AM
Insiang and Tinimbang available in September (http://criticafterdark.blogspot.com/2007/08/insiang-tinimbang-on-cinefilipinos-pre.html)
I ordered both titles from CineFilipino as soon as I've seen their posting. I've received a confirmation e-mail from them telling me that my order will be processed by mid-October.
Post by: wedge on Sep 21, 2007 at 10:37 AM
Caught this in Cinema One Global while my wife was channel-browsing. I admit that I was not as eager to watch it than the Brocka melodrama Maging Akin Ka Lamang the previous night before (the powerpunch of the latter's dialogue is enough to knock me off my seat, hehe). The Bernal slice of the film is funny, poignant and the exchanges of Boyet de Leon and Nora Aunor are powerful. Albeit, it does not entirely put much emphasis on the wheels of the conflict, the dialogues are sufficient to tell you what the plot is. The Celso part is, a shot in the dark, I think. With less dialogues, the visuals are what the viewer should focus more. There are convoluted scenes---scenes that at a certain degree is a bit confounding, that I realized that there are lapses in its chronology. Overall, it's not an exhausting film, its lightheartedness somehow soothed the hangover of the Brocka film the night before.
Post by: sosy_high on Sep 21, 2007 at 08:04 PM
09/21/2007 | 12:21 PM
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A love story set in the picturesque province of Donsol, Sorsogon, is the official Philippine entry to the 80th Annual Academy Awards to be held in February 2008. Starring Angel Aquino and Sid Lucero, Donsol has been chosen to vie for the Oscar award in the Best Foreign Language Film category.
The directorial debut of Adolf Alix, Jr. premiered during the 2006 Cinemalaya Philippine Independent Film Festival where it won Best Cinematography and Best Actress for Angel Aquino.
Donsol tells the story of two people who meet and fall in love at a time when the butanding (whale sharks) visit Sorsogon, which is located at the southeastern part of the Bicol Peninsula.
This indie film features the parallelisms between the two characters' love story and the migration patterns of the whale sharks. Locally known as butanding, whale sharks are migratory animals that frequent the turquoise waters of this province from November to May.
During the story conference of his latest film Nars held last night, September 20, at the Thompson Square in Tomas Morato, Adolf gladly told PEP (Philippine Entertainment Portal) about the good news.
"Nalaman ko lang yesterday na ang official submission ng Philippines for the Academy Awards for the Foreign Language Film is Donsol. Actually, nakakatuwa. Hindi ko in-expect. Medyo in the middle nga ako of two films, nagpo-post-production ako ng Tambolista [for Cinema One Originals] and itong Nars mag-i-start na sa Saturday so in between may magandang news lang," says an overwhelmed Adolf.
"Ang daming films na magaganda last year and worthy rin sila pero noong nalaman ko na Donsol ang ipapadala, tuwang-tuwa ako. It's a long shot pero wala namang mawawala, e," says the director with optimism. "May mga requirements na kailangan munang isubmit. Aayusin ko muna."
Although, Adolf points out that his film was able to pass the preliminary requirements for it to be shortlisted. "Actually, may 35mm ang Donsol, which is one of the requisites for the Oscars. Kailangan rin at least one week ka nag-run sa theaters," he says. In fact, Star Cinema screened Donsol for two weeks starting November 29, 2006. ABS-CBN's film production company is the local distributor of the film and Adolf is in the middle of negotiating with a US distributor.
"For Donsol, which is first film ko, nakakatuwa kasi one year ago na pero nakakatuwa na napapansin pa rin nila," he gushes. The director is not aware how many entries were considered for the Oscars but he did point out that Eddie Romero, the National Artist for Film headed the selection committee.
"Nagbuo sila ng selection committee, I think yung head si Eddie Romero. Nagbuo sila ng selection committee to choose the Filipino entry to the Oscars. Then sa Oscars, yung voting members. Medyo long shot kasi madaming members yun and you have to send promotional materials," he explains.
Last year, a total of 61 countries submitted films for consideration in the Foreign Language Film category for the 79th Academy Awards, including the country's Ang Pagdadalaga ni Maximo Oliveros (The Blossoming of Maximo Oliveros) directed by Auraeus Solito.
On January 22, the Academy of Motion Pictures Arts and Sciences will select the five nominees for the 2008 Foreign Language Oscar. The Academy Awards will be presented February 24, 2008. - Philippine Entertainment Portal
Post by: butsoy on Sep 21, 2007 at 10:17 PM
I wish I had the influence for tomorrow's Gawad Urian so that Maricel could finally be recognized by the critics. It seems a long shot!
Thanks keating (coming from a Maricel fan :D)! But sad to say, her performance was overlooked once again by the Manunuri. Better luck next time (as always :P)
Post by: keating on Sep 21, 2007 at 10:40 PM
The truth is it took many many years for Eddie Garcia to take home the bacon from the Manunuri before he was finally recognized. Baka me tungkod na si Maria before she will be recognize by the Urian which is really really bad.
Post by: rse on Sep 22, 2007 at 04:34 AM
This film is lucky that it’s in a very good condition for its age. Other movies made in the 80s are either in very terrible condition or altogether lost. This is even in its original aspect ratio which I think at 1.85:1.
Nora’s performance alone made me not question that a person is capable of such extreme obsession. The way she played it (at least for me), there’s a hint that her obsession borders to a mental condition. I think that she’s a very disturbed individual (like the character Kathy Bates played in Misery) and the ending proves that.
Philip is also good but Nora’s performance just dwarfs his´.
The hints of infantism are also disturbing and add another layer to the story.
And of course the social milieu, the lives of the people around them adds a visual flavor to the movie; and is captured to perfection by the great Conrado Baltazar.
Post by: rse on Sep 22, 2007 at 10:31 PM
This is a surprisingly good “bold” film from the 80s. This movie can actually stand even without the sex scenes. It’s a very moody piece, a mix of sex, melodrama and great use of locations: the Manila pier port, abandoned old buildings, etc. The “bold” actors are actually not bad in the acting department. I’m actually not surprised that this is written by Armando Lao. It’s a very well-observed film. The flashbacks are mostly very effectively used.
I haven’t seen Takaw Tukso so I can’t really compare the two.
The copy that I’ve seen is in really bad condition. Having just bought an American movie on DVD that was made in the 40s and seeing that in mint condition, it just breaks my heart to see this relatively newish film in this dire condition.
Post by: rse on Sep 22, 2007 at 10:44 PM
Peque Gallaga
This movie is a cousin of Oro, Plata, Mata. It has the same bravura look and feel, and epic scale. But I think that this is the better film, the story is better and it’s also a better realized film.
It’s not perfect though. It’s a bit confusing at times, and some of the shootout scenes just go on and on. Even some of the sex scenes just come out of nowhere (understandably so, because I think that this was advertised as a “bold” film!). Still there are a lot of moments in this film to be considered great. One thing that I noticed that’s really weird in this movie is that how they portrayed the “pampanguenos” to be almost like savages. Early in the movie, they even wear outfits that will fit more in a movie like Apocalypto.
Typical, the copy that I’ve seen is in a very bad condition. A lot of the scenes in this movie happen at night and sometimes I can barely see what’s happening.
Post by: Noel_Vera on Sep 23, 2007 at 01:44 PM
Post by: keating on Sep 23, 2007 at 05:53 PM
Post by: Noel_Vera on Sep 24, 2007 at 09:25 AM
That's Peque's problem in almost all his films, except maybe Scorpio.
Post by: keating on Sep 24, 2007 at 06:12 PM
Post by: rse on Sep 25, 2007 at 05:20 AM
The version that I’ve seen now is an English-dubbed version called Isabel of the Island (or something). The English dialogue takes a while to get used to it (although from the sound of it, it seems like most of the actor dubbed their own character…).
This is a perfect vehicle for Gloria Diaz and she looks like a goddess here. No kidding, she’s just simply stunning! The film itself is a visual feast even in a fairly poor condition of the transfer that I’ve seen.
I think this is now one of my favorite Celso Ad Castillo movies (although I haven’t seen much of his).
Post by: Noel_Vera on Sep 25, 2007 at 01:29 PM
Pinaka is a remake of Lean's Ryan's Daughter, down to the mentally handicapped man played by--was that Dick Israel? I suppose Lean's version is the more complex (I need to see both again), but Celso has this eye, darn it...
Post by: jdv1229 on Sep 25, 2007 at 05:23 PM
Post by: rse on Sep 25, 2007 at 10:53 PM
I actually like Isla too. Although for some strange reason, its use of classical music bothers me. It feels out-of-place from the movie.
Post by: RMN on Sep 27, 2007 at 11:15 AM
Cinema: Its Impact on Human Society
Address of President Marcos
First Manila International Film Festival 18 Jan 1982
Address of President Marcos
First Manila International Film Festival 18 Jan 1982
To play the part of host to a felicitous occasion like this, at a time when our world in the words of a contemporary historian is so deeply marked by "infelicity," is a great privilege for our people and our country, so permit me first to add my words of appreciation and welcome to all of you who have journeyed so very far from your homelands to our capital.
No one believes, though it would be nice if it were so, that this very first International Film Festival to be held in what is sometimes called the Third World, will do anything revolutionary to the art of the cinema in our time. Art, we are always reminded, is not impressed by awards.
But there is that part of the world of the cinema that is inhabited by our all too human needs: by the need of. filmmakers and craftsmen for some sign of recognition that their work touches the life around them; by the need of film producers, distributors and financiers for a global audience that can sustain a multi-billion dollar industry; and by the need also of those of us who, while not makers of films, are no less intense in their devotion and love for the cinema, to give recognition to what deeply affect and move us.
It is for this, if for nothing else, that film festivals might be said to have relevance and meaning.
It is the great paradox of art and literature that what is accomplished in solitude and even in seclusion from the public must also be the most public of creations. There is perhaps in our time no medium more powerful or immediate in its impact on human society as the cinema.
The historian Barbara Tuchman not long ago suggested that if we pause to record mankind's greatest moments against our present despondency and pessimism, we must count among the milestones man's ingenuity to entertain and amuse himself, and
to create works of great brilliance and delight. And she regards entertainment and art 'as among mankind's greatest achievements, which balance what sometimes appear as the severities of human experience today.
In the long arc of history, we can surely say that the discovery of printing and the discovery of the motion picture belong with the splitting of the atom and the discovery of the wheel among the highlights of human achievement. We can debate which of the two-print or film, the world or the image -has had or continues to have the more profound impact on world culture, but there is no question that contemporary times have been shaped and are shaped in part by what we do with the world and the image.
In this is underlined the intense interaction between art and society, and between artists and publics. Just as without a live reader, what a man writes can wither on the page; so without an audience, what a filmmaker creates can veritably die on celluloid.
It also can be put in another way: that our world, without its writers and artists and communicators, to interpret experience and to help us understand, could dissolve into virtual incoherence and confusion. And it could well be that our time more than any previous era-with all its challengers and its burdens, its anxieties and presentiments-has never been in greater need of the artist to provide illumination and insight.
Filmgoers want to laugh and cry. But perhaps even more truly, they want to see the human person shaping his destiny, or at least as has been suggested, struggling with it.
In an impressive number of films being made all over the world today, we can surely note this great ability of the cinema to extend the range of our sense of wonder and understanding. But we should also note the particular problems for the artist in an age like ours, which sometimes limit or stifle this high role we recognize.
Ours is a time that finds its most sterling exponents in the image of the loser and the anti-hero, and it has sometimes appeared as though our art today is predominantly consumed by unremitting experience of ugliness.
Now perhaps more than yesterday, artists appear to be torn between the call of truth and the call of beauty. And because its seems more fashionable to choose truth, there sometimes is a tendency to think that by making things so ugly nobody can therefore doubt "its virginity."
Not being artists, we can only hope and believe that the artist is not necessarily reduced to such a dilemma that it should be possible to cloth one in the other. For just as in the greatest literature, and yes, the greatest films, the experience of loss and tragedy can have great meaning and profundity, so we think it possible that the tragedies and foibles of our time need not just appear foolish or repellent in our creations, but something from which man and society can learn.
This is a challenge to all who would embrace the difficult vocation of art and literature; and it is surely no less so for the makers of film.
In a medium so unparalleled in its reach and capacity to move audiences, it is surely not vain to hope that the cinema might help us to understanding and even to bring our world together. This is a hope that has been worn from overuse, but the need does not diminish from repetition.
There is in history a pendulum of culture that serves as our strongest bridge between nations and peoples. This is surely true in the fact that the printing revolution which began in the East lighted the entry of the West into modern times. This could also be true of film.
Can we not learn from the cinema, as we should from other media, the insight and the will to face up to the problems of our time, so vividly etched in the weird paradox that we are simultaneously challenged by "too many people in the world and too much power to destroy them?"
To put this to you, ladies and gentlemen of the cinema, is not a case of passing the buck to artists what we politicians must surely bear as our primary responsibility. It is just a way of saying that solutions to our problems today cannot be sought alone in politics and government, but in the common effort of all, including those like you who uniquely shape the contours of culture in our time.
It is a fact unique to the cinema that its invention occurred simultaneously in several parts of the world. Questions still remain as to who really invented the moving picture, but perhaps.
it is' more true to say that the cinema began with the coincidental discoveries of different scientists working apart from each other.
It is a curious point that forms an apt prologue to an industry and an art that transcend the boundaries of nations and belong to all humanity.
And what better proof is there of this than that here in our city, the filmmakers of the world gather today to speak the language of film.
We can perhaps open this festival of films with no more fitting words than those of an inveterate filmgoer who said: "Reality is a movie."
I thank you.
Post by: Noel_Vera on Sep 27, 2007 at 02:52 PM
Thanks Jojo. I think Dick Israel was in the remake.
Post by: rse on Sep 29, 2007 at 02:06 AM
Although the brothel house (“casa”) that they use has character. Actually the production design is more interesting than the actual story itself.
Post by: rse on Sep 29, 2007 at 06:22 AM
This release seems to be from a new press. The trailers are from the more later releases of Regal Films like the latest Shake, Rattle and Roll, Zsa Zsa Zaturna, Mano Po (Gui Ai di?), etc. The casing that they used is a very thin plastic case which I think is ideal for shipping. To my surprise, this release has ENGLISH SUBTITLES. Yes, so you can now lend this to your non-Tagalog speaking friends.
The bad news is that it seems like this press is copied from a VHS tape. Early in the movie just after the credits, there was a short screen jitter which is very typical for a VHS tape especially when it’s trying to adjust itself. There’s a lot of color bleeding in this version. Actually the picture quality of my VCD is better than this.
But the worse news is that this version is heavily cut, even compared to my VCD.
So basically the only saving grace of this release is the English subtitles, although be warned that very near the end the subtitles were out-of-synch with the action so it’s a bit distracting to watch.
Surprisingly I like it better now than the last time I saw it (which was a very long while ago!). This movie is an erotic masterpiece. It’s one of the most visually inventive Pinoy films that I’ve seen, and also one of our most precision-edited films. I’m less bothered now by the sets. I’ve come to accept that Peque is no Lino Brocka when it comes to capturing raw, real-life like surroundings. Scorpio is gritty, dirty but in an artificial kind of way.
I’m still annoyed by the whole “rain sequence” and also with this brief scene where Fely was telling Danny that she’s just removed the vocal chords of the noisy cat. It might be an allegory for something but it just so lame and ridiculous. Is she a medical student or something? She sure doesn’t look like one! Peque’s fondness to slow-motion shots still bothers me a little bit.
Post by: keating on Sep 29, 2007 at 10:40 AM
The three leads gave their best shot acting wise and of course the nudity. Rse the uncut version on vcd is still around you just have to be lucky to grab it.
Post by: wedge on Sep 29, 2007 at 10:51 AM
Post by: keating on Sep 29, 2007 at 10:57 AM
Post by: Noel_Vera on Sep 29, 2007 at 01:00 PM
Post by: rse on Sep 29, 2007 at 01:33 PM
So is my VCD uncut? I thought that only an early VHS release is uncut.
I also have the VHS but I bought it the same year as the VCD. I don't think I've even seen it. I think it's still in Manila.
In any case, Scorpio in its cut form is still better than other Pinoy sex movies that I've seen.
Post by: keating on Sep 30, 2007 at 11:16 AM
Post by: rse on Sep 30, 2007 at 08:04 PM
Rse, I've checked the vcd of SCORPIO NIGHTS. The newest release by Regal Home Video in 2006 is the uncut one.Hi Keating..I think the DVD that I just bought was released on 2006 also. I don't get it, they released the VCD uncut and the DVD cut? Where's the logic in that...?
Post by: keating on Oct 01, 2007 at 02:08 PM
Post by: rse on Oct 02, 2007 at 12:18 AM
This is ¾ great movie….! I think that the surreal ending I think didn’t blend well with the rest of the movie. The latter part also felt rushed and slow at the same time. I can’t believe how young Jacklyn Jose looked in this movie...
Post by: rse on Oct 02, 2007 at 12:21 AM
Mind-boggling really, rse. Its 2006 at the back of the vcd. Maybe we should email Regal Home Video to clarify the matter.I can't do much anyways, I'm not based in the U.S, I can't just return it, he, he he..! ;D
Post by: Noel_Vera on Oct 02, 2007 at 12:17 PM
Actually, Jane's terrific in anything she's in. Macho Dancer, May Nagmamahal sa Iyo, even Tuhog she's very good (in Tuhog she's doing something very difficult--a deadpan spoof of the sensual-despite-herself victimized mother).
Post by: keating on Oct 02, 2007 at 07:22 PM
She's luminous and ignite the screen even in films like MISIS MO, MISIS KO.
Post by: rse on Oct 02, 2007 at 10:51 PM
Post by: Noel_Vera on Oct 04, 2007 at 03:39 PM
Post by: rse on Oct 05, 2007 at 12:25 AM
This is a one wacky film. It’s one of those movies that are so bad that they’re good. I was laughing most of the movie (although it's not a comedy!). The sequence on the bell tower I think is very well made though. Estella Estrada actually didn’t show a lot of skin in this movie (at least compared to the other movies I’ve seen in this era).
Elwood Perez is one crazy director. Although I much prefer Silip. Any other worthwhile movies he’s made?
Post by: thegoodbyeguy on Oct 05, 2007 at 03:17 AM
ABS-CBN is making a big deal with their CINEMA FPJ when GMA-7 already has it before via FPJ SA GMA (a more accessible title I should say) and has become a classic TV show on its own. Oh well, I can't blame for the clamor of the fans of FPJ and non-fans alike. That was then (the '80's), this is now. I hope they will air more of his movies that hasn't been viewed in a long time (read: not available via VCDs/DVDs). I, myself is looking forward to his Panday series.
Post by: oggsmoggs on Oct 05, 2007 at 11:53 AM
Post by: rse on Oct 06, 2007 at 01:01 AM
Snake Sisters (Celso Ad. Castillo, 1984) (http://oggsmoggs.blogspot.com/2007/10/snake-sisters-1984.html)Great review oggsmoggs, btw do you have the VCD? How's the quality? Is it uncut? I'm planning to buy it. Thanks.. ;D
Post by: oggsmoggs on Oct 06, 2007 at 01:07 AM
Great review oggsmoggs, btw do you have the VCD? How's the quality? Is it uncut? I'm planning to buy it. Thanks.. ;D
Thanks rse, the copy is terrible. The subtitles are hardly readable (the characters don't speak in Tagalog but in some sort of gibberish), but I believe it is uncut.
Post by: Noel_Vera on Oct 07, 2007 at 01:39 AM
Post by: rse on Oct 07, 2007 at 03:21 AM
I wasn’t expecting much with this movie. I haven’t really been impressed with Nora’s latest efforts. Later in her career, her acting became so mannered and overly “dramatic” for my taste. I was in for a surprise! The old Nora is back!!! She’s so good in this movie. It helped that this movie I think had an excellent screenplay and she’s surrounded by an excellent cast of veteran and new batch of actors, Yul Servo especially who was so natural and likeable.
Still I think that she’s a bit miscast. Upper-class is not really her forte, and she’s struggle a bit to look the part.
Post by: Noel_Vera on Oct 08, 2007 at 11:30 AM
It's just not her best range.
Post by: jdv1229 on Oct 08, 2007 at 05:24 PM
Post by: rse on Oct 09, 2007 at 02:17 AM
Nannette Inventor and Rex Cortez are delightful to watch in this musical. The cinematography is colorful and the slums in Tondo hadn’t looked this pretty. Aside from that this is pretty standard pinoy fare with a musical twist. The little girl who played Nene has a unique look although most of her scenes involve crying –a lot of crying! The guy who played Tikyo is a bit too boring to watch. The songs and dance numbers are ok. They’re not bad but they’re not memorable. Caridad Sanchez' character didn’t work for me at all….
Post by: thegoodbyeguy on Oct 09, 2007 at 04:17 AM
Saan Nagtatago Si Happiness?
Nannette Inventor and Rex Cortez are delightful to watch in this musical. The cinematography is colorful and the slums in Tondo hadn’t looked this pretty. Aside from that this is pretty standard pinoy fare with a musical twist. The little girl who played Nene has a unique look although most of her scenes involve crying –a lot of crying! The guy who played Tikyo is a bit too boring to watch. The songs and dance numbers are ok. They’re not bad but they’re not memorable. Caridad Sanchez' character didn’t work for me at all….
Saw this musical-indie film in Cinemalaya Presents on Channel 5 a few weeks back and all I could say is "okey lang siya." Appreciate the effort but that's just it. Nothing to rave about at all.
Post by: Noel_Vera on Oct 09, 2007 at 02:42 PM
Post by: wedge on Oct 09, 2007 at 03:01 PM
Maynila sa mga Kuko ng Liwanag - the scene wherein Julio was staring through the blinds for Ligaya. Not certain if it was a real close-up.
Post by: Noel_Vera on Oct 09, 2007 at 03:42 PM
Post by: jdv1229 on Oct 09, 2007 at 04:56 PM
Jojo, or anyone else out there--can you remember a memorable use of the close-up in a Filipino film? I guess there aren't many--or none--of the kind of gaint closeups Bergman uses, but there should be something. I have one in mind, I was hoping to get more (extra points to whoever can guess what I have in mind).
i would think Rosario's close-up at the bridge in Tatlong Taong Walang Diyos...
Post by: wedge on Oct 10, 2007 at 01:29 AM
Right film, wrong moment. Actually, I'm not sure about that--wasn't that more of a medium shot? If the face doesn't fill the screen, it's kind of iffy...
As far as I can remember, the scene wherein Julio Madiaga was cornered in a sidestreet was a closeup...
Post by: sinehansakanto on Oct 10, 2007 at 01:41 AM
As far as I can remember, the scene wherein Julio Madiaga was cornered in a sidestreet was a closeup...
I assumed that that would be the close-up shot that people would most remember from that movie. I think if there's any Pinoy movie that is defined by its close-ups, it would be O'Hara's Bulaklak sa City Jail, with the last close-up of Nora in the Manila Zoo being the best example from the film.
I've always been taught that a long-shot is from the feet up; a medium-shot is from the waist up; a close-up is from the shoulder up; an extreme close-up is basically the face (or another, single element) filling the screen.
Post by: Noel_Vera on Oct 10, 2007 at 03:15 AM
Jo, I knew you'd follow through; Nora's moment is a great one, and I'm embarrassed not to have it pop into mind at once.
And yep, that penultiimate shot in Maynila is what I'm thinking of...
Post by: rse on Oct 11, 2007 at 12:58 AM
Elwood Perez
Words can’t describe this movie. It has everything – I mean everything!!! It has more twists and turns than a roller coaster ride…but the characters are not very interesting. Although admittedly, the “kuaresma” backdrop is mildly interesting….
Boatman
I think this is Tikoy Aguiluz’ masterpiece. I haven’t seen Sarsi Emmanuelle acted better in another movie. Although I must admit, Ronnie’s “white” girlfriend has an annoying accent. It sounded fake. Was it dubbed? Her accent reminded me of the accent of the actress who played Josephine Bracken in Bayaning Third World.
Post by: Noel_Vera on Oct 11, 2007 at 07:30 AM
Post by: keating on Oct 11, 2007 at 08:28 PM
One of the better outputs of Viva Films that came out in 1988. The studio is known for their glossy production values, top-notch cast and komiks melodramas. On second viewing, maybe at par with Carlitos INAGAW MO ANG LAHAT SA AKIN and TATLO MAGKASALO or in between among these two films. Jackie Lou Blanco shines throughout the film. As usual the brilliant Jacklyn Jose just glows on the screen whether with dialogue or no dialogue at all. The setting in the film industry could have been improved if it was infuse with more humor, it tends to be dramedy while inflicting the boundaries of marital problems between the two couples. Loved the long-lush close-ups and the house of Edu and Dina.
Post by: rse on Oct 12, 2007 at 03:14 AM
Susanna Love? Yep, that's the way she talks. Actually, she's very hot in person, but even Tikoy admits, she's not a very good actress.Yeps that's her! ;D
Post by: Noel_Vera on Oct 12, 2007 at 02:51 PM
Love is hot; if I remember right, the movie was suppose to be a vehicle for her; sequels would involve her in various stages of undress--er, acting roles. But you can tell where her true talent lies...
Post by: keating on Oct 12, 2007 at 09:11 PM
Bibeth should write more movies like this. Her gig with Brocka for PALIPAT-LIPAT, PAPALIT-PALIT was more fun.
Are you referring to Jackie Lou Blanco, Noel?
Post by: sosy_high on Oct 12, 2007 at 11:25 PM
Post by: oggsmoggs on Oct 13, 2007 at 02:33 PM
Post by: Noel_Vera on Oct 13, 2007 at 06:16 PM
Are you referring to Jackie Lou Blanco, Noel?
Jackie Lou? I mean Susanna Love.
Gagamboy (Spider-boy, Erik Matti, 2004) (http://criticafterdark.blogspot.com/2007/10/gagamboy-peque-gallaga-2004.html)
Harsh Times (David Ayer, 2005) (http://criticafterdark.blogspot.com/2007/10/harsh-times-david-ayers-2005.html)
Resident Evil: Extinction (Russell Mulcahy, 2007) (http://criticafterdark.blogspot.com/2007/10/resident-evil-extinction-russel-mulcahy.html)
Post by: keating on Oct 14, 2007 at 11:33 AM
(http://i103.photobucket.com/albums/m132/keating_01/FamasInvitationCard.jpg)
The invitation for the big night.
Post by: keating on Oct 14, 2007 at 11:36 AM
(http://i103.photobucket.com/albums/m132/keating_01/Dolphywithtrophy1-smallfile.jpg)
The Comedy King bags the Best Actor award for OMENG SATANASIA.
Post by: sinehansakanto on Oct 14, 2007 at 02:19 PM
I see you've discovered Video 48's blog as well. It's great seeing all those posters and ads for films we can no longer see, even if it's just for visualizing their moving images in our minds.
Post by: sosy_high on Oct 17, 2007 at 03:50 PM
Post by: Noel_Vera on Oct 21, 2007 at 09:31 AM
Closeups in Philippine Cinema (http://criticafterdark.blogspot.com/2007/10/close-ups-in-philippine-cinema.html)
Post by: rse on Oct 21, 2007 at 08:41 PM
There are plenty to like in this movie, primarily its excellent cinematography and production design.
The story and scope are epic scale, sprawling from the 1900s to the 80s. The story is interesting in most parts but I think the flashbacks are more interesting than the present story.
I think it’s the first time I’ve seen Amalia Fuentez act – not really a fan of her acting style, too mannered for my taste. It’s also a bit weird watching Amalia and Eddie Garcia playing mom and stepdad to Fernando Poe Jr. And I think that Jay Ilagan is a bit miscast too. Fernando Poe is good, maybe the best I’ve seen him, although, I haven’t seen him in Santiago yet so I can’t compare the two performances.
Elizabeth Orapeza is deliciously good (and looking so gorgeous!) The movie also boasts cameos from almost all living actors and actresses in that era, he he he…
Lastly, I think the use of this movie's theme song is just plain annoying and doesn't fit the movie at all (although I love that song....)
I think it’s a better filmed movie than Ganito Kami Noon, but I think I like Ganito a little better.
Post by: jdv1229 on Oct 21, 2007 at 09:02 PM
Post by: rse on Oct 21, 2007 at 09:41 PM
you should see FPJ in Santiago... it's definitely one of his best screen performances ever! i thought Daria Ramirez was also great as the mistress in Aguila...Yes, she's great too in such a small role..and quite good looking too. ;D
Post by: rse on Oct 24, 2007 at 01:02 AM
Finally one of the big guns of Pinoy cinema is released on DVD! So here’s the rundown of the DVD release:
The DVD doesn’t have any special features. No trailers, no documentaries, even film notes.
The main menu only contains two options: play and chapter selection.
The movie is in 1.85:1 aspect ratio. I don’t know if this is the original aspect ratio or if it’s masked. The one they show on Cinema One is full framed at 1.33:1. If it’s the original aspect ratio, then that means that this is the first time most of us can see the movie in its full visual entirety, in widescreen.
The film is subtitled but it’s not removable. It’s a bit annoying at times because while watching the movie I can’t help but focus on the subtitle; my eyes were drawn to it and can’t help reading it while watching the movie. It would have been better if the subtitles are located at the black bars at the bottom of the screen so it’s less distracting.
I noticed that the end credits are missing. The DVD ended just after the word “The End” appeared on screen. You can hear that the background music is cut abruptly.
The transfer is great for a Pinoy movie that’s made in 1976 if you keep your expectations in check. This is not a Criterion Collection treatment or a Hollywood release so anybody expecting a THX, Dolby Digital, high definition transfer you’re in for a major disappointment. At the back of the cover it states that the film has been digitally re-mastered. I don’t exactly know what it means technically but I can’t see any efforts done to remove dirt and other blemishes in the transfer. Basically what they meant by re-mastered is that they just digitized the movie then made a DVD from it.
Still I’m thankful for CineFilipino for releasing these classic films on DVD….
Next to watch: Tinimbang Ka Ngunit Kulang
Post by: jdv1229 on Oct 24, 2007 at 06:27 AM
Post by: Noel_Vera on Oct 24, 2007 at 08:20 AM
Post by: Noel_Vera on Oct 24, 2007 at 08:23 AM
That said, the film itself is excellently ambivalent. Same with Foster Child--it starts out coming off as a propaganda piece on foster care, then moves on to be something a little more.
They're not bad. Mendoza's a welcome new voice--a kind of Kiarostami/Herzog filmmaker/storyteller.
Post by: oggsmoggs on Oct 24, 2007 at 12:35 PM
Just watched Manoro and Foster Child. Interesting contrast--I agree with oggs, I like Manoro better, but the beginning titles kind of offended me--suggested that Aeta culture is so inferior that their lack of familiarity with the dominant language, Tagalog, is considered 'ignorance.' Things are more complicated than that, I think.
That said, the film itself is excellently ambivalent. Same with Foster Child--it starts out coming off as a propaganda piece on foster care, then moves on to be something a little more.
They're not bad. Mendoza's a welcome new voice--a kind of Kiarostami/Herzog filmmaker/storyteller.
True, that. My problem with Mendoza is that he gets all the fun and the recognition but he's not the Kiarostami or Herzog (all auteurs with distinct voices) here, it's writer Ralston Jover (and Armando Lao, in the background, with his screenplay writing manual). Having said that, yeah, I'm glad Mendoza's there to make films and make the Philippines a place in the cinema world, and he's just going to get better.
Post by: Noel_Vera on Oct 24, 2007 at 03:08 PM
Post by: oggsmoggs on Oct 24, 2007 at 03:16 PM
Doesn't that intro in Manoro bother you, tho? The rest of the film seems so much smarter than that intro.
Oh, it does... and if it comes from the writer, that's really lousy and insensitive. If the director knew better, he would've started off without that intro (it doesn't matter really in the storytelling); but since the director is such a festival-whore (of course, I'm just assuming), there's much investment on being exotic for foreign eyes that maligning an indigenous seems worth it.
Post by: rse on Oct 25, 2007 at 12:43 AM
Insiang was transferred using the newly subtitled 35mm print screened at the last year's New York Film Festival. as for the special features, there's no other existing behind the scenes documetary footage available. there wasn't any end credit sequence at all. THE END was flashed on the screen for a short while and that was it. if you'll notice, the opening credit sequence was quite long which included all the names of the people who worked on the film. you cannot compare the digital remastering made for Hollywood films... all they do is to make the quality comparable to DVD standards depending on the master copy...
Hi Jojo,
CineFilipino releasing Insiang on DVD is one of the best news I've heard all year. Insiang in any format is a must-have to any serious Pinoy film collector. I'm not at all disappointed with the transfer especially for a Pinoy movie that old. I've just recently bought a DVD of Gallaga's original Tiyanak, a fairly newish film, yet the transfer that they used for that DVD is almost unwatchable...so we're pretty fortunate for a great transfer of Insiang....
I remember the version from Cinema One has a slightly longer (but negligible) end credits. The reason why it stuck to me is because I've read the review below from jigsawlounge, and at the end of the review, the reviewer pokes fun at the film's end credits:
"....The moment when she finally has enough of Tonia's goadings and physical abuse - returning, with interest, the latest of her mother's many vicious slaps - is a corker, setting us up for the terrific closing scenes. Brocka then (drily) rounds off with the very briefest of closing credits - "The End," and a card informing us that make-up was supplied by the firm 'O'Leary'. Because as Insiang soon learns, if you're plotting to bump off your mother's gigolo lover, it's best to ensure your lipstick is always just so. "
Here's the full article:
http://www.jigsawlounge.co.uk/film/content/view/337/1/
Post by: keating on Oct 28, 2007 at 07:49 PM
And Dolphy totally deserved the win. Omen Satanasia is great, and he's the element that holds the entire thing together.
I see you've discovered Video 48's blog as well. It's great seeing all those posters and ads for films we can no longer see, even if it's just for visualizing their moving images in our minds.
Hey John, yup Dolphy's greatest performance in celluloid along with Brocka's ANG TATAY KONG NANAY. Too bad we don't have an archive even for our old film posters.
Post by: keating on Oct 28, 2007 at 07:51 PM
(http://i103.photobucket.com/albums/m132/keating_01/Inay77-Brocka.jpg)
(http://i103.photobucket.com/albums/m132/keating_01/MgaBilanggongBirhen77.jpg)
(http://i103.photobucket.com/albums/m132/keating_01/KungMagarapKa27tGumising77-2.jpg)
(http://i103.photobucket.com/albums/m132/keating_01/BantaMgKahapon77.jpg)
Post by: keating on Oct 28, 2007 at 07:53 PM
(http://i103.photobucket.com/albums/m132/keating_01/BurleskQueen-77.jpg)
(http://i103.photobucket.com/albums/m132/keating_01/BabaeNgayonAtKailanman-77.jpg)
(http://i103.photobucket.com/albums/m132/keating_01/SaPilingngmgaSugapa77.jpg)
Post by: oggsmoggs on Oct 30, 2007 at 11:54 AM
Post by: rse on Oct 30, 2007 at 07:54 PM
It’s all about the details of living in a small provincial town: the religious groups, the rituals, the wakes, the funerals, the parents, the kids, the gossips, the intrigues, the rich, the poor and the outcasts….
BTW, I remember the first time I saw this film, Eddie Garcia’s character bothered me a lot. He’s portrayed as a WOMANIZER with a capital W. There’s no subtlety in it, almost all of his scenes outside their house involve him and another woman either making out or having sex, or him talking about women he’s having sex with….Even his “link” to Kuala I think is a bit too much…Now it bothered me less…
Speaking of their house, Eddie Garcia/Christopher’s house has beautiful, uncommon architecture. It’s not Spanish…or your typical “bahay na bato”.
About the transfer, it’s not as clear as Insiang but still it’s very watchable. The cinematography is great. The colors are muted and almost sepia but it adds to the charm of the film. It gives it a time-gone-by look. It’s exquisitely photographed, especially the scenes in the grass fields….
The aspect ratio is full-frame, 1.33:1 and the subtitles are non-removable like in Insiang. It doesn’t have any other special features…
Post by: Noel_Vera on Oct 31, 2007 at 01:48 AM
Post by: rse on Oct 31, 2007 at 09:36 PM
I’m surprised to know that this was written by Mario O Hara.
And, it’s a bit distracting seeing cameos of some famous film people at the wedding ceremony in the end. It included non other than Lino Brocka himself…
Post by: Noel_Vera on Nov 01, 2007 at 11:22 AM
But it's otherwise a pretty truthful and detailed little film. Impressive debut film for Guillen, I think.
Post by: rse on Nov 01, 2007 at 04:49 PM
Post by: Noel_Vera on Nov 02, 2007 at 01:23 PM
Post by: rse on Nov 03, 2007 at 04:17 AM
This movie’s production design is top-notch. It made an excellent use of its location, Sta. Cruz and Binondo area….Aside from that I can’t find any other thing that I liked in this fantasy gangster movie. It’s derivative, at times confusing, pretentious, and overly indulgent. What makes it worse is that the cast is made up of some of the most uninteresting young actors…Another missed opportunity for Peque Gallaga.
Post by: Noel_Vera on Nov 03, 2007 at 01:33 PM
I remember what Danton Remoto said: it emphasized physical pain, which is really the least interesting pain there is. A basically shallow movie.
Post by: oggsmoggs on Nov 03, 2007 at 04:22 PM
Post by: rse on Nov 03, 2007 at 11:11 PM
Not to mention--is there this level of teen violence in Binondo and Sta. Cruz area?
I remember what Danton Remoto said: it emphasized physical pain, which is really the least interesting pain there is. A basically shallow movie.
Agree, a shallow fantasy movie. Mostly style over substance...but worse is it's mostly "borrowed" style!
Post by: rse on Nov 05, 2007 at 12:51 AM
Sigaw (The Echo, Yam Laranas, 2004) (http://oggsmoggs.blogspot.com/2007/11/sigaw-2004.html)
I like Sigaw. It's a well crafted film. Agree, Jomari didn't look like a menacing policeman. Another minor thing, I think that they overdid the dressing of the condo building...
Post by: Noel_Vera on Nov 05, 2007 at 12:15 PM
Post by: rse on Nov 06, 2007 at 01:34 AM
Going back to Gangland, I'd say a more accurate view of street crime in Manila is Auraeus' Maximo Oliveros. Barely a trace of fantasy, and yet it's far more complex and moving.
Agree, I think Maximo's already a classic...
Post by: Noel_Vera on Nov 06, 2007 at 06:15 AM
Actually, Tuli, haven't seen it, but I caught a few frames, looks like his way of returning to the territory of that first film. Some of the images are similar.
Post by: oggsmoggs on Nov 07, 2007 at 12:20 AM
Booba (Joyce Bernal, 2001) (http://oggsmoggs.blogspot.com/2007/11/booba-2007.html)
Post by: rse on Nov 07, 2007 at 12:32 AM
Have you seen Auraeus' first short animated film, rse? I like Maximo a lot--heck, I like it better than Brokeback--but that short film I thought was breathtaking, a real original, and most intriguing of all, a fragment of some great vision.
Actually, Tuli, haven't seen it, but I caught a few frames, looks like his way of returning to the territory of that first film. Some of the images are similar.
I haven't seen his short film, but I have Tuli on DVD (although I haven't seen it yet). Will check it soon then...
Post by: rse on Nov 10, 2007 at 02:38 AM
http://10kbullets.com/reviews/s/silip-daughters-of-eve/
http://www.dvdtalk.com/reviews/review.php?ID=31327
http://twitchfilm.net/site/view/silip-dvd-review/
http://www.dvddrive-in.com/reviews/n-s/silip85.htm
http://www.bloodtypeonline.com/s76.htm
http://www.dvdmaniacs.net/
http://www.mondo-digital.com/silip.html
Post by: rse on Nov 14, 2007 at 01:15 AM
Post by: Noel_Vera on Nov 14, 2007 at 06:30 AM
Post by: rse on Nov 14, 2007 at 07:28 AM
haven't seen this, wouldja believe? Been waiting for jeffrey forever to send me something.
I think that it's one of his more technically polished films. My wife bought me a few dvd's from a recent trip to Manila. The DVD transfer is quite good and it's in widescreen.
Post by: Noel_Vera on Nov 14, 2007 at 03:46 PM
Post by: oggsmoggs on Nov 14, 2007 at 08:23 PM
It's still not available on dVD here. What's the delay?
I think it will be distributed there early next year Noel, at the MoMA from what I've heard.
Post by: rse on Nov 16, 2007 at 01:32 AM
This is Joy Bernal’s most dramatic film so far. That said, there are still a lot of comedic moments in it delivered mostly by the supporting cast members. I think that the Regine-Piolo pairing is a bit awkward; still they have somehow a weird chemistry together.
A Love Story
I didn’t like much this Maryo J. De los Reyes' glossy ABS-CBN produced movie. The major reason is that the three leads are just such odd trio. Aga is too young for Maricel and Angelica is too young for Aga. I cringed every time I see their intimate scenes. But the major flaw of this film is the much kept surprise twist in the middle. The twist serves no purpose at all but act as a major gimmick for the film. Aside from that the dramatic highlights just went on and on. There are also a lot of redundant scenes.
That said Maricel is great in this, and Angelica is not bad at all. I can’t say the same for Aga. I don’t really like his acting style.
Mark Gil has a small part in this film as Maricel’s ex-husband. Maricel and Mark’s scenes together seem to belong to another movie all together. I think I would rather watch more of their story than hers and Aga’s.
Post by: sosy_high on Nov 18, 2007 at 11:15 PM
Post by: RMN on Nov 19, 2007 at 02:45 PM
However, am going to be nitpicking and will mention one glaring thing: The use of a G-Liner bus as a provincial bus.
Post by: telonistas on Nov 23, 2007 at 05:23 PM
the waiting shed with the bus scene was a logistic nightmare. two cam set-up. crane on one side and a 20 ft. dolly track on the other side. bus has to turn back several times. ang daming motoristang naperwisyo!
morong church shoot was quite hilarious. i found out later that all the background talents used in the mass and funeral scenes all belong to the church of iglesia ni cristo!
please watch maling akala this nov.30-dec2. a lot better than IY, i think. ;D
Post by: oggsmoggs on Nov 23, 2007 at 08:39 PM
Post by: Noel_Vera on Nov 24, 2007 at 05:31 PM
Is it better than his previous two films? That's a knotty question. But it's a wonderful film on its own, easily one of the best of the year (the best, if it wasn't for We Own The Night...).
Post by: oggsmoggs on Nov 26, 2007 at 05:01 PM
Post by: Noel_Vera on Nov 28, 2007 at 07:16 AM
Philippine premiere in the UP Film Center Videotheque, 11/29/07 at 10 am.
Post by: oggsmoggs on Dec 01, 2007 at 04:23 PM
Post by: keating on Dec 02, 2007 at 11:07 AM
Post by: oggsmoggs on Dec 02, 2007 at 04:30 PM
Post by: sinehansakanto on Dec 03, 2007 at 09:57 AM
Celso works without production designer and editor on most of his films, and that's a good treat already. I still wish The Kid would go back to the kind of films he used to churn out in the 70's and 80's.
I think like Scorsese, Celso should just retire from making movies and focus on rediscovering lost Filipino films, especially the great films that he made during his youth. Old guys can keep making movies until they die, but not everybody can be as lucky as Altman: the well of inspiration can only go so far, and the effects of the depletion of said well definitely shows in the films they produce. While he still has the energy to do so, he should shift his attention and focus on things that require a lot less imagination but produce equally beneficial results.
Also, I have not forgotten about your movies. I'll mail them as soon as I get out of Oklahoma. They should get to you by Christmas, so treat them as a Pamasko :) I'll also post up a review of Brocka's Cadena de Amor pretty soon, so watch out for that.
Post by: keating on Dec 03, 2007 at 05:57 PM
Regarding Celso.....you're right. Even the remakes he did in the 90's can't match the greatness of the films he did in the 80's. I heard The Kid is doing the sequel to SANIB now. Well, if only he could remake again the horror classic PATAYIN MO SA SINDAK SI BARBARA with all the technologies available now, I'll give him a chance.
Post by: oggsmoggs on Dec 05, 2007 at 10:57 PM
Post by: Noel_Vera on Dec 08, 2007 at 05:57 PM
Raymond Red (http://criticafterdark.blogspot.com/2007/12/raymond-red.html)
Tukso (Temptation, Dennis Marasigan, 2007)--temporary link good only until Thursday next week (http://www.bworldonline.com/Weekender120707/main.php?id=cinema7)
Post by: oggsmoggs on Dec 08, 2007 at 11:53 PM
Post by: keating on Dec 09, 2007 at 11:04 AM
Undoubtedly, the two best entries in the 1978 Metro Manila Film Festival are Atsay and Rubia Servios.
Atsay is remarkable in several ways. It has a strong social message, aimed at primarily those who forget that maids are also human beings. In the character of Mrs. Anton (Angie Ferro), screenwriter Edgar M. Reyes is able to embody the thousand faults which middle-class housewives are heir to. Atsay can also pride itself on being truly Filipino. Its mood is set by its Pilipino credits (in sharp contrast to the English credits of the other entries). The film deliberately exploits local color, dwelling not only on rural but also on picturesque urban scenes. The story, needless to say, can happen only in the Philippines, where domestics and beerhouses are national institutions. But the most striking thing about Atsay is its cinematography (Romeo Vitug). The slow dissolves, the multiple exposures (such as the brilliant train sequence), the surprising angles, the flawless composition---these border on genius. The cinematography is so extraordinary, in fact, that it covers a multitude of sins. The most grievious sin of all is the ending. In the end, Nelia (Nora Aunor), after having been humiliated, beaten, raped, dehumanized by the vultures of the city, decides to stay in the city anyway in the hope that an impoverished construction worker (Ronald Corveau) will make her live happily ever after. Such ending, while assuring the viewer that human nature is not totally evil, is unmotivated and, in fact, goes against the very theme of the story. For Atsay is the story of how the city dehumanizes, of how human beings become swine (this point is made through blatant symbolism in a shot of Nelia inside a cage-like jeep), of how Manila is a prison (note Vitug’s several shots of cage-like structures). “Atsay” is a story of how individuals are no match against the cruelty of the city. The construction worker, for example, becomes the victim of a construction accident. A young pretty virgin from the province is raped while she’s drugged. A kind-hearted old man is shot down while protesting against exploitation. The ending of Atsay contradicts the film’s affirmations. It would have been much more in keeping with the theme (not to mention the current concerns of the national human settlements program), if Nelia were shown rejecting the city and, in hope, returning to her province for a new life.
Rubia Servios, on the other hand, does not dilute the message. Willy (Phillip Salvador), the son of a powerful and wealthy figure, is portrayed as totally evil, devoid of any redeeming quality. To screenwriter Mario O’Hara and director Lino Brocka, the province is the same as the city. Rubia Servios (Vilma Santos) is raped both in the city and in the country. Rubia kills Willy in the country. Violence unites all places. It is the “unity” of conception, scripting, design, and direction, in fact, that Rubia Servios is superior to Atsay. Lino Brocka does not waste shots in his attempt to create a Filipino classical tradegy. He subordinates everything to the building up of one emotion in the viewer, that of hatred of Willy. So despicable does Willy become at the end that, when he is murdered by Rubia, no viewer can say that Rubia is at fault. And yet, morally speaking, no one is allowed to take the law into his own hands. The law, in fact, put Willy in prison for the first rape. There is no reason to think that the law will not put Willy to death for the second rape. By conditioning the reader to condone Rubia’s revenge, Brocka succeeds in questioning one of our deeply-rooted moral beliefs.
The unity that characterizes Rubia Servios contrasts sharply with the tendency of Eddie Garcia in Atsay to exploit Vitug’s versatility even at the expense of tightness. There are shots in Atsay, for example, which could easily be cut without hurting the film’s integrity. Even the train sequence, one of the best sequences in Atsay, is far too long.
Rubia Servios is Lino Brocka’s film; Atsay is Romeo Vitug’s. Nora does an excellent acting job; but so does Vilma Santos, and Rubia is a much more demanding and difficult role. Edgardo M. Reyes is an established literary figure, but Mario O’Hara is much better screenwriter. Overall, Atsay may be much more impressive than Rubia Servios. In terms of challenging our moral and legal convictions, however, Rubia Servios is much more significant.
Isagani Cruz
TV Times 1979
I remember vividly my cousins howling with protest and furious with anger, throwing cups with coffee at our tv set while watching the awards night because they thought Vilma was rob by Nora! ;D
Post by: oggsmoggs on Dec 09, 2007 at 01:39 PM
Post by: Noel_Vera on Dec 10, 2007 at 05:14 AM
Didn't realize Isagani Cruz was such an O'Hara fan. Brocka yes--almost everyone except Joel David loves Brocka--but O'Hara, I gotta sit up and take notice. Writes well, too, unlike a certain so-called critic from a well known daily.
Post by: Noel_Vera on Dec 11, 2007 at 02:22 PM
Post by: rse on Dec 18, 2007 at 01:39 AM
We went to see this latest Cathy Garcia-Molina offering through a special screening sponsored by the officers of the Filipino community here. I’ve only seen two of her films, one I really liked (You Are the One) and one I tolerated (You Got Me). “One More Chance” seems to belong in the middle. I don’t like it as much as "You Are the One" but I like it more than "You Got Me". The start is pretty strong. It’s funny and playful (I also like it that the movie is more sexually frank than your usual Pinoy young romance movies) although as the film went on it became more and more serious and by the end of it was just so tedious to watch. Almost 70% of the movie involve some form of crying, involving at least one of the leads. I haven’t seen a man cries as much in a movie as the character played by John Lloyd. Most of these scenes are done with close-ups. Lastly I don’t understand the need to include a blind character if it’s not used for anything than showing a t-shirt that says that “Love is Blind”. If you’re into a Hollywood-style tear-jerker about middle class yuppies this might appeal to you, else, rent it on DVD.
Post by: keating on Dec 18, 2007 at 06:33 PM
Broken Marriage is Ishmael Bernal’s best film since his ill-fated Manila by Night/City After Dark (1980). In fact, Broken Marriage is - in the sense the term is used by painters - a detail from the huge canvas of City After Dark.
The theme of this latest masterpiece from the Master is simple: the emotional violence in a marriage mirrors the physical, political, and social violence of the city, City After Dark gave a bird’s eye view of the city, Broken Marriage looks at the city through the eyes of a worm.
The violence in the marriage of Christopher de Leon and Vilma Santos is obvious enough. He is conscientious, compassionate, successful police reporter who is just about to be promoted. She is a conscientious, liberated, determined TV floor director also about to be promoted. They are, in other words, alike. Like poles repel, goes the age-old adage from physical science, and these two career-conscious individuals have no time for each other. He spends his leisure hours reading or catching up on videotaped films. She spends her time on the telephone, making her home an extension of the studio. Bernal cleverly places an issue of Time magazine always within reach of de Leon. The director is saying that time is what is just beyond the reach of these two persons who are in love, not with each other, but with themselves. In fact, their very similarity (they are both sloppy in dressing, in fixing their things, in working habits) points to what must have made them fall in love in the first place: they both see themselves in each other.
To say that the two persons are “incompatible” is to miss a lot. They are, in fact, extremely compatible, because they look, think, and act the same. They both want the marriage to revolve around themselves. They both want fame and fortune. They both want to be loved by the children, but not to spend time loving them. They are both stubborn, yet forgiving. They are both faithful to each other, almost to a fault, yet they cannot stand each other.
Is Bernal saying that marriages can never work if the two partners are equal in every respect? Is he saying that only a male chauvinist marriage can work, where the man works all day and the woman stays home? Or is he subtly suggesting that marriage itself as an institution is an anachronism in a rapidly-changing world? There will be various interpretations of this film, depending on one’s own perception of one’s own marriage. But disagree or not, viewers cannot fail to see what Bernal’s underlying thesis is - that the violence in urban, middle-class marriages is caused by violence outside the house. The home is the center that has failed to hold together. The city is the world that has become “broken.”
Bernal cleverly shows that he is interested not only in a marriage, but in the city, when he lets his background seep into the interstices of the plot. In the first sequence, for instance, de Leon is watching Bonnie and Clyde on videotape, an obvious hint that Broken Marriage will also be about love in a violent setting. In Bonnie and Clyde, if you recall, the two lovers - having rediscovered each other - are mercilessly mowed down by law enforcement officers. Similarly, the marriage in Broken Marriage is “mowed down” by the lawlessness of society.
Again and again, Bernal includes violent news from outside of the home. Rod Navarro’s voice is heard talking about the Middle East war. A bank shoot-out is headlined by de Leon’s paper. During the climactic break-up scene, The Greatest American Hero is showing; in that series, the hero needs extraterrestrial help to combat crime in the modern world. The registration scene in the university shows the lack of discipline that pervades Manila. If the city is not disciplined how can a small family be?
Sprinkled throughout the screenplay are derogatory remarks against institutions noted for their lack of discipline - MERALCO (taping is hurried because of an impending brown-out), MWSS (Santos refuses to pay a bill for water since there has been no water in her neighborhood for months), the Ministry of Public Highways (streets are described and shown to be full of diggings), the police (who are asked by de Leon to “salvage” or murder a Chinese prostitution kingpin), movie actresses (one star fails to appear for a song number), movie producers (Orestes Ojeda’s only object is to sleep with Santos), and, most appalling of all, politicians (personified by a fictional mayor who points a revolver at de Leon). In short, this is City After Dark all over again, but with more subtle, probably more lasting, effect.
The ending has been criticized by a couple of reviewers. It is true that the beach sequence smacks of commercialism. All’s well that ends well, and all that. But City After Dark, we may recall, also ends on such a happy note. We may disagree with Bernal’s perception that there is always hope left for man, woman, and the city, but we cannot disallow him his views. In other words, most of us agree that the broken marriage can be mended, but Bernal thinks so, and his films have all ended on such an up-note. I personally would rather see a darker, more realistic ending, but Bernal would not be Bernal without his happy endings. It’s not a completely happy ending, anyway. Two sequences before the beach scene, Bernal films the wedding scene in a haze, as though he were saying that whatever follows the wedding is mere romance. It is like Bonnie and Clyde. The gansters dream of a happy life together, spinning romantic castles in the air. But as soon as it is time to go out into the real world, violence is right there at the doorstep. The ending is filmed as a romantic interlude, but the reality is waiting around the dark corners of the city, like the mayor’s goons who cannot stand the thought that someone is finally about to tell the truth.
Post by: keating on Dec 18, 2007 at 06:43 PM
A Bond that Smothers and Smolders
by Joselito Zulueta
Sine Manila - 1983
BROKEN MARRIAGE comes as a second wave to the noisy ripple created by Vilma Santos’s award-winning performance in Relasyon. The Regal people have banged their bongos so much harder this time that viewers will expect that Ms. Santos’ cards for this year’s awards derby will be more than secure. The hint is that Broken Marriage is a Vilma Santos movie. Lest the moviegoer expect too much from this year’s quadruple winning best actress, he should be forewarned that the movie is about, well, a broken marriage.
After more than 10 years of marriage, two young persons find each other repugnant. Ellen is a television
floor director who hops from one set to the other shooting sitcoms and soaps. Her husband, Rene, complements her rapid lifestyle in investigative reporting. The movie commences with Ellen coming home in the morning from overtime with a crew party on the side. Rene greets her with an ugly nag. The house turns topsy-turvy as they proceed to hurl invectives against each other. The exchange is extremely exhilarating; and just as the viewer breathes a sigh of relief, another quarrel starts and ensues as if it were the final assault.
Eventually, they decide to separate at the cost of their boy’s understanding nod and their little girl’s distaste. Rene moves to a house populated with such absurd characters as an artist who carves sexy sculptures, a friendly bit-part actor, and a gay art director who cuddles the upstart. Ellen, meanwhile, has to see to it that the children are not left out in their school activities - even standing as an athletic parent during one of her boy’s scouting engagements. She also has to check the advances of her bodyache-complaining producer, to whom she later gives in anyway.
Gradually, the two people realize the great loss that comes with division. Ellen, with the two children, is forced to move to her mother’s place after her house is burglarized, thus realizing the difficulty of an unmanned house. Rene substitutes a whore in the absence of his wife’s caresses. It is when Rene gets beaten up by a city mayor’s goons for nearly publishing a detrimental article and is constrained to recuperate in his mother-in-law’s house that the couple starts patching up the seams of the rent relationship. The ending is of course happy: reconciliation, what else?
Comparisons dawn inexorably: how does Broken Marriage fare as a follow-up to the bravura of Relasyon? This is tough inquiry. If intentions were to be the starting point, then the new movie is a better achievement. Relasyon, judging from its title, was supposed to be about a man and other woman relationship; but the feminist tendencies of our cinema had pinned the movie to a fateful drift: the travails of the modern mistress. Broken Marriage never swerves from its goal; from start to finish it is a portrait of two persons and the bond which they discover smothering and smoldering.
But the ordinary moviegoer does not assess by artist’s intentions - he does not even care about the artist (I mean here the one behind the work. On one hand, the film in front of him is the present; and on the other hand, it is the past. Broken Marriage is made to appear to him as a sequel to Relasyon. The process of integrating the past and the present is a challenge for him. For him are opened two avenues: to start with past and proceed with present; or start with present and proceed with past. If he chose the former, the condemnation for Broken Marriage would clang like a wild cymbal. If he chose the latter, the outcome is a laudatory comment).
Nonetheless, one has to prove that the new movie can stand on its own feet. What Relasyon sadly lacked (albeit not too sadly) was humor. Broken Marriage has tons of it - the caustic swaps, the funny characterizations, the clever plottings - so that the audience’s conditioned response for a supposedly serious movie shifts irrevocably to playful irreverence. Vintage Ishmael Bernal.
It is a masterly stroke - the proverbial Bernal sleight-of-hand at work, this time with more gusto and style. If the Inquisition were still around, he would be branded and burned seven times as a heretic for turning a marriage gone sour into an off-beat frolic suddenly turned sweet - at least, to the viewer’s mirth-hungry belly.
But none may claim that Bernal’s treatment loses its mark of delineating the disadvantages of separation. The humor chisels the message so that it comes to us shining and double-edged, while doing its duty of alleviating an otherwise gloomy impression which accompanies every disillusioning subject matter.
Not only does it come through humorously but also simply. Nowhere is the strain which anyone expects from grave subjects present here. It is as if the dreary topic had been borne on the Lord’s shoulders so that the yoke - and audiences love to be martyrs of maudlin tears - becomes, this rare time, light and easy. The scene where Rene visits his family and finds Ellen and the children agitated by the swift burglary of the house, and the producer wrily comments “Mahirap talaga ang walang lalaki sa bahay”(It’s difficult to have no man in the house) is casual but very biting so that the urgency of the hero returning to his gamily throbs mercilessly like a set clock.
In the same way, Bernal shows Ellen’s retrospective mood minus the conventional flashback: her younger sister is engaged to be married, and Ellen watches the two lovebirds running like children, with a bright but painful smile, even with jealousy, knowing that after the ceremonies, the two will lose the innocence which tradition stifles. This is a repetition of the technique Bernal used in Relasyon - the mistress attending the wedding of her cousin - with just the same effect, namely, sympathy.
The screenplay plunges right into the boiling point, the issues hurled to the foreground like machine-gun fire, the familiar scenes of hatred and division treated like aimless confetti so that the audience neither breathes nor is excused. It jolts us at the outset and after the terrible whipping, when the squabbles lessen and finally ebb into peace, we realize that these two handsome people must have had only one tragic flaw: they did not keep mum for a while.
Manolo Abaya’s cinematography dances with the jetstyle rhythm of the two protagonists. From the clever blocking of the morningjumble scenes to the hurried bustle of the television studio, Abaya’s camera sweeps avidly and flawlessly. In his hands, the incessant quarrels of Rene and Ellen seem like a vengeful lovemaking. The long shots, conventions of a Bernal, are more developed here. Above all, Abaya’s camera has humor and pathos.
The production design never digresses from its limited scope but manages to make poetry out of cluttered rooms and artificial television set-ups. The claustrophobia one feels at the outset of the movie with the couple’s disorderly room easily renders the hopelessness of the two people’s situation. The music filters the emotions of the characters with a detached but effective air. Jesus Navarro’s splendid editing is a breathless canvass of cosmopolitan animation.
The supporting actors are remarkable. Spanky Manikan as a loony reporter getting loonier everyday must not be denied mention; so with the actors who play the sculptor and the gay art director. Lito Pimentel as the gay’s idol is a relaxed performer with a talent for effortlessness.
Christopher de Leon endows the character of Rene with the right sense of machismo and basic weakness. When Rene is compelled to act maturely, De Leon unflinchingly turns him even more childish with useless tantrums; and when Rene finally learns his lesson, De Leon adds a boyish smile as if the lesson were amusing. We watch De Leon, elated and entertained: he is never so old as to appear too distant nor is he too young as to seem undocile. Broken Marriage is a gift to this actor. He is not propelled here to be more manly; since his character is made to contribute to a lot of oversights, De Leon’s doesn’t have to put a mask of strength: he just has to be himself and act with ease.
Vilma Santos is not about to be a letdown, not this time when the most important female roles are coming her way. A new intelligence she infuses in the character Ellen. Like De Leon, she turns Ellen into a woman-child, but the stress is less on her part as she has done similar roles before. Her beautiful face is flush receptive: the quiet moments of just observing the people around her are moments of perfect acting. Her body moves with an agility that is both funny and dramatic. Her two monologues - the first with her friends in the cafe when she informs them that she is bored, and the second with Rene when she tells him that they are not children anymore - are her best scenes: the camera lingers upon her countenance and she enunciates in return with ironic ease. She should watch out for next year’s awards race - there is simply no stopping her at the moment.
Post by: Noel_Vera on Dec 19, 2007 at 03:29 PM
Post by: Noel_Vera on Dec 19, 2007 at 03:57 PM
Tukso (Temptation, Dennis Marasigan, 2007) (http://criticafterdark.blogspot.com/2007/12/tukso-temptation-dennis-marasigan-2007.html)
Eastern Promises (David Cronenberg, 2007) (http://criticafterdark.blogspot.com/2007/12/eastern-promises-david-cronenberg-2007.html)
Post by: keating on Dec 20, 2007 at 04:49 PM
I forget Manolo Abaya lensed this one. He along with Vitug and Lacap and Baltazar pretty much defined the look of '70s Philippine cinema.
Manolo lensed some of Bernal films in the 80's. He could have made Marilou's directorial debut TANIKALA but he was more inclined to photography than filmmaking.
Post by: oggsmoggs on Dec 21, 2007 at 11:40 PM
Post by: oggsmoggs on Dec 24, 2007 at 10:21 PM
Post by: oggsmoggs on Dec 27, 2007 at 03:06 PM
Post by: keating on Dec 30, 2007 at 12:22 PM
Himala Revisited
by Arnel Resma Ramos
Watching Ishmael Bernal's landmark film Himala on a lethargic afternoon is like revisiting an old familiar haunt. It brings back memories of a cherished time when locally manufactured movies made one ponder and contemplate, think and analyze.
We were but a boy in knee pants, starry-eyed and unsophisticated, when we first saw this meditative piece on faith and the evils that it brings forth when used for the wrong reasons. The year was 1982, exactly two decades ago, and we well remember being enthralled by the sheer force of its powerful images and quietly devastating performances. We are one of the blessed few who own a video tape copy of the film that has remained, through the years, Nora Aunor's signature film. The pint-sized superstar delivered a miracle of a performance as Elsa, the false visionary. Perhaps, the finest performance by a Filipino actor ever recorded on celluloid. If the diminutive multimedia luminary ever decides to leave the movies for good, Himala is enough reason to guarantee her of immortality.
Set in a far-flung barrio, a lowly, plain looking lass claims that the Virgin Mary appeared before her during an eclipse. She becomes a faith healer and almost overnight the sleepy town transforms into a bustling community. Pilgrims and tourists troop to Barrio Cupang out of curiosity while the sick flock to the once-cursed place with the hope that the miracle will heal them. Among the people who gravitate around Elsa are her two fanatic followers: a childhood friend named Chayong, almost saintly in countenance, and a poor woman (played with serene intensity by theater stalwart Amable Quiambao) who places her devotion to Elsa on top of her priority list. Two other important characters come within Elsa's orbit: a struggling documentary film director who treats his camera as his God and a downtrodden prostitute (performed to perfection by Gigi Duenas).
Eventually, the miracle brings out the worst in the townsfolk. The greedy use it for their selfish motives. They peddle Elsa's miracle like a commodity, to the extent of selling bottles of supposedly miraculous water. The politicians take advantage of the media mileage to further their hidden agenda. The dire poverty drives the women to prostitution and the men to committing crime to escape their miserable plight.
Then one day, Elsa loses her power to cure. The faithful Chayong takes her own life and once more Barrio Cupang goes back to being barren and seemingly God-forsaken. There is an interesting twist as to why this happens. I choose not to reveal it so as not to spoil your viewing pleasure, if and when you come across a copy of this film and like me, be held captive by its hypnotic quality. I dare say that Himala is far more spiritual than the countless movies inspired by the lives of saints.
The film concludes in a scene where Elsa, following the rain that has come to Barrio Cupang after a long drought, gathers her believers in the sand dunes and announces, to everyone's shock, that indeed the miracle is nothing but a hoax. It is in this scene where Nora delivers the iconic lines "Walang himala, ang himala ay nasa ating puso (There is no miracle, the miracle is in our hearts)." Right after the startling revelation, Elsa is gunned down and pandemonium breaks out.
The film is not the typical fare that the average Filipino moviegoer laps up with glee. There are no violent confrontation scenes. Missing too is the element of sex. But the film is unerring in its depiction of the grim consequences when people use faith to advance themselves. From the first scene to the last, Bernal never loses grip on his material, imbuing it with directorial touches that may go unnoticed by undiscerning viewers. They may find the film too passive and gloomy. Bernal executes the film according to his grand design. The cinematography and the editing are laudable.
Ricky Lee's script is deft and soulful. Some quarters complain that the main problem with the script is the underwritten part of the central character Elsa. We feel that the role was decidedly underwritten to make the part properly enigmatic and mystical, in keeping with the elusive quality of the film. After all, faith is a very personal matter. It is not something that one slaps right in the face of others.
Then until now, we believe that Nora Aunor should have swept all the best actress awards for that particular year. She was pitted against Vilma Santos' heartfelt portrayal of the mistress in Relasyon and the latter scored a grandslam. This is not to belittle Santos' portrayal but if one were to be objective, it would be easy to see that Aunor had the more complex role and only an actress of her caliber can pull off the part with much persuasion. It calls for a restrained, self-effacing acting style. And Aunor, the consummate actress that she was (take note that we used the past tense because the more recent film outings of the actress are far from her best. She has become very florid, like a bad version of a hysterical Charito Solis), strikes not a false note in her performance. It is, in one word, mesmerizing. And Himala is without a scintilla of a doubt the pinnacle of her cinematic achievements.
Films like Himala reaffirm our faith in Philippine movies. We hope that despite the fact that two of our most revered directors, Bernal and Lino Brocka, have long since gone to the great beyond, people in this well-loved industry will join hands and strive to come up with films that will herald a renaissance in Philippine cinema. We hope to see the day when the Philippines will finally be able to make it as a nominee in the Oscar Best Foreign Language Film category. Some cynics may say that it is wishful thinking but call us what you wish, we remain undaunted in our belief that Philippine Cinema is at par with the best of the world. see link
Thanks to Kuya Simon Santos of Video 48 for the pic and Arnel Ramos for his review. I concur for what he said. Too bad Nora missed only a single point at the presitigous Berlin Film Fest for the Best Actress award. Vilma should have won all the accolades for BROKEN MARRIAGE & not for RELASYON.
Post by: RMN on Jan 03, 2008 at 02:12 PM
Sa Piling ng mga Sugapa by Gil Portes
Post by: keating on Jan 05, 2008 at 10:11 AM
1. Sakal Sakali Saklolo - 97 Million
2. Enteng Kabisote 4 - 91 Million
3. Shake Rattle and Roll 9 - 57 Million
4. Resiklo - 20 Million
5. Desperadas - 17 Million
6. Bahay Kubo - 16 Million
7. Katas ng Saudi - 3.1 Million
8. Anak ng Kumander - 1.5 Million
9. Banal - 1.4 Million
Post by: deweyfinn on Jan 06, 2008 at 11:34 AM
The box-office ranking as of Jan. 3 in the current Metro Manila Film Festival.
1. Sakal Sakali Saklolo - 97 Million
2. Enteng Kabisote 4 - 91 Million
3. Shake Rattle and Roll 9 - 57 Million
4. Resiklo - 20 Million
5. Desperadas - 17 Million
6. Bahay Kubo - 16 Million
7. Katas ng Saudi - 3.1 Million
8. Anak ng Kumander - 1.5 Million
9. Banal - 1.4 Million
Serves Manny right...stick to boxing, dude
Post by: sosy_high on Jan 06, 2008 at 07:39 PM
complaint ko lang sa DVD: Bat mas malinaw yung TRAILER kesa sa FEATURE FILM? ??? STrange
Post by: oggsmoggs on Jan 08, 2008 at 06:22 PM
Post by: keating on Jan 17, 2008 at 06:42 PM
Passages
A day after his sixty-sixth birthday, a director named Joey Gosiengfiao succumbed to his sixth heart attack.
He died alone. Throughout the hours between his cardiac arrest and the time he expelled his last breath, only his assistant was with him at the Intensive Care Unit of the Quirino Medical Center.
Not a single one of his friends, peers and the ordinary men and women he was instrumental into transforming into celestial bodies in the parody of a heavenly world was at his side. Joey Gosiengfiao died at 3 am ... and not even twelve hours later, his body was cremated, consecrated in a quiet Mass and was relegated to an urn for eternal anonymity.
Barely anyone remembers Joey Gosiengfiao ... except in reference to his most popular films, the campy ones that have practically become iconic in terms of their significance to the culture of movies in the seventies. Those were the years. Yes, those were the years when he and Elwood Perez lorded over the movie industry, churning out hit after hit in what was then the reign of Regal Films and the domination of the so-called Regal Babies. He, together with Elwood, were the demigods of popular filmmaking. That was when each weekend there were at least two new Filipino movies opening in theaters and a wide variety of works were readily available for the spectrum of audience interest.
There was Brocka and Bernal ... and Gosiengfiao and Perez. No concise and valid appreciation of popular culture studies in this country can be complete without the inclusion of Gosiengfiao's name regardless of how the cinema scholar may deem the value of his works. Yes, TEMPTATION ISLAND or KATORSE may not make it a critic's list of the most important works to shape Filipino cinema in the latter part of the twentieth century... but there is no way of denying that these supposedly tacky works of pure popcorn value are as important in determining the mindset and taste of an era long forgotten together with padded shoulders, tsunami hairdos and dark blue eyeshadows. Define art any which way one prefers --- but the popular movies are as significant in creating benchmarks of the evolution of public intellect.
Luciano B Carlos or "Tatay Chaning" may have shaped popular comedy ... but Gosiengfiao and Perez defined the etymology of popular films in the seventies. Thse opened doors for the some of the most revered actors today when they started out as teeners with far greater talent than the pre-fabricated tween performers who populate our boob tubes and widescreens.
Little is known about Joey Gosiengfiao's contributions to the birth of real alternative cinema. When Regal Films indulged in the production of the "pito-pito"
films, condescending comments and demeaning observations were hurled against these quickie films churned out by the studio, usually opening and closing on the same day in moviehouses. But if it were not for Gosiengfiao who supervised the production of the pito-pitos, there would have been no KRIMINAL NG BARYO CONCEPCION or SANA PAG-IBIG NA. There would have been no PILA-BALDE or HUBAD SA ILALIM NG BUWAN. There would have been no Lav Diaz or Jeffrey Jeturian.
Gosiengfiao, together with the incorrigible Mother Lily, opened the doors for a number of the major filmmakers today. It was he who watched over my first films in Regal ... providing perspective in the principal photography and production of my initial works critical during my transition as writer to megman. Together with Douglas Quijano, Joey Gosiengfiao saw to it that the films were delivered in a manner that could be sold to the public while never overstepping his respect for the creativity of a potential peer.
His failing health took him away from active film work for the past few years. And like all of us who are mere pawns to the machinery of a system that demands popularity and visibility, he slowly faded into the background, relegated to the seemingly insignificant and out of use. His final years were painful in more ways than one ... because the latter part of his existence personified the thanklessness of this career we have all chosen to give our lives and energies. The once powerful and revered director was scrounging for work and was not given his due respect ... because he could no longer deliver.
No, it is not a matter of finances alone but the respect that is due to someone who paved way for generations of filmmakers to find their distinct place and voice in the hierarchy of things. While the mavericks of today are so determined to completely destroy and redefine Philippine cinema with their bravery and originality they fail to recognize that every breakthrough requires the reinvention of a paradigm ... and this paradigm is the tradition established by those who came ahead of them. Any struggle for redirection can only take place if those seeking new frontiers recognize who built the roads on which they travel.
Joey Gosiengfiao died alone. There was little ceremony ... perhaps even little tears shed for his demise. His works will never be placed side by side in the bastion of the film greats. But he was there ... and in so many ways, he is still here. For what we now understand as popular and commercial filmmaking owed a lot to what he did as a director and a producer.
Not recognizing this all too simple yet oh so important notion makes his death even all the more painful.
Post by: Noel_Vera on Jan 18, 2008 at 04:58 PM
Best of 2007 updated; Filipino films on DVD updated (http://criticafterdark.blogspot.com/2008/01/update-best-of-07-and-filipino-films-on.html)
Little Black Book of Movies 3 (http://criticafterdark.blogspot.com/2008/01/little-black-book-3.html)
Post by: thegoodbyeguy on Jan 25, 2008 at 03:45 PM
complaint ko lang sa DVD: Bat mas malinaw yung TRAILER kesa sa FEATURE FILM? ??? STrange
:D You made me laugh with your comment!
Post by: telonistas on Jan 26, 2008 at 10:55 AM
January 28 Monday
5pm MALING AKALA
7pm CONFESSIONAL
January 29 Tuesday
2pm ALTAR
5pm PRINSESA
7pm TAMBOLISTA
January 30 Wednesday
5pm CONFESSIONAL
7pm ALTAR
January 31 Thursday
2pm MALING AKALA
5pm TAMBOLISTA
7pm PRINSESA
Cinema One upholds its standing as the premier movie cable channel in
the country yet again this January, as the UP Film Institute Cine
Adarna spotlights the acclaimed digital films from the 2007 season of
Cinema Originals from January 28-31, Monday to Thursday. This follows
Cinema One Originals' successful 2007 runs at Glorietta and Trinoma.
Included at this showcase are Confessional, Prinsesa, Maling Akala,
Tambolista and Altar, with the film Maling Akala kicking it off at 5pm
on Monday, January 28, followed by Confessional at 7 pm.
On January 29, Tuesday, Altar will be shown at 2 pm, Prinsesa at 5 pm
and Tambolista at 7 pm.
Screening schedules for January 30, Wednesday, include Confessional at
5pm and Altar at 7pm.
On January 31, Thursday, the last night of the showcase, Maling Akala
will be shown at 2pm, Tambolista at 5pm and Prinsesa at 7pm.
Borne out of Cinema One's vision and belief in the Filipino talent,
the film channel took on the challenge of producing quality Filipino
movies beginning in 2005. Creating a venue for up-and-coming Filipino
filmmakers to commit their vision of Filipino lives on film, Cinema
One Originals allows these producers, writers and directors to produce
digital films on a limited budget, without compromising content.
This year's film crop has upheld this tradition. At the recent Cinema
One Originals Awards Night, Confessional led the roster of winners
with seven awards - Best Picture, Best Director, Best Supporting,
Actor, Best Screenplay, Best Sound, Best Editing and a Special Award
from Star Cinema. Confessional centers on a former politician who
decides to confess all of his sins – all the crimes he committed while
in office - in front of a small-time filmmaker's camera, as he
believes he may be dying. Jerrold Tarog and Ruel Dahis Antipuesto
shared directing duties.
The OFW family drama Prinsesa from director Lawrence Fajardo was
honored with three awards - Audience Award for Best Digital Film, Best
Actress, and Best Supporting Actress. Prinsesa tackles the issues of
having an OFW as a parent and how this affects a child's life, using
obesity as a metaphor.
The light romance Maling Akala won the Best Cinematography and Best
Production Design awards, with the bittersweet story of a confused man
and troubled woman's relationship.
The realistically chilling performance of Sid Lucero – the festival's
Best Actor winner - anchors the intriguing drama Tambolista by Adolf
Alix. Tambolista tackles a young boy's (Jiro Manio) desire to have his
very own set of drums, which sets off a web of deprivation, violence
and betrayal. Ricky Davao, Anita Linda and Coco Martin co-star.
Rico Ilarde's spine-chilling Altar, winner of the festival's Best
Musical Score award, follows a former boxer (Zanjoe Marudo), who comes
back to the Philippines to find himself jobless and destitute. He then
finds a job to renovate an old and decrepit house which turns out to
be haunted.
Tickets are available at P100 at the UP Film Institute Cine Adarna, UP
Diliman Campus, Quezon City. Call the UP Film Institute at (63-2)
9262722 or 9263640 for details
Post by: sosy_high on Jan 26, 2008 at 11:51 AM
:D You made me laugh with your comment!
totoo naman kasi kaasar nga eh I really love the movie tapos ganun! Mas nagenjoy pa akong ulit ulitin tuloy yung trailer kasi malinaw!
Post by: thegoodbyeguy on Jan 26, 2008 at 07:44 PM
totoo naman kasi kaasar nga eh I really love the movie tapos ganun! Mas nagenjoy pa akong ulit ulitin tuloy yung trailer kasi malinaw!
Which goes back to my previous comment in the thread - Himala: Available Now for Php 299!, 'na hayaan na nila (we as buyers and collectors) pagtiyagaan ang iri-release natin'. Maglalabas lang din hindi pa ayusin gayong important film 'yun sa kasaysayan ng Pelikulang Pilipino. You're not the only one who's very much disappointed.
Post by: pinoymovies on Jan 27, 2008 at 08:32 AM
http://www.youtube.com/watch?v=SyXjWtgI_Rg
Noranians from the ICON group headed an email campaign to request the release of HIMALA on DVD in time for the film's 25th Anniversary. So maraming salamat pa rin sa Star Home Video.
Post by: jdv1229 on Jan 28, 2008 at 12:29 AM
Post by: X44 on Jan 28, 2008 at 10:57 AM
regardless of the DVD's shortcomings, it's still reason for Filipino film enthusiasts to rejoice. before all we did was whine that none of the classics are available on video, now that an important film like Himala is available, all we hear are complaints. from what I understand Himala was transferred from the existing video master with burned in subtitles. even the CCP's archival copy is in betacam-SP format since the 35mm print is in bad condition. we should just all be thankful for this release. who knows maybe someday STAR Video will re-release the movie with special features.
I agree. Who wouldn't want a Criterion-like treatment for Himala (possibly my favorite local movie) but even a company like Criterion can only do so much with the material on hand (hence the many remasterings of their titles).
And it's less than 300 pesos. Not exactly extortion.
Post by: oggsmoggs on Jan 29, 2008 at 04:05 PM
Post by: indie boi on Jan 29, 2008 at 05:07 PM
Post by: keating on Jan 29, 2008 at 06:17 PM
Thanks to Video 48 for the poster of CITY AFTER DARK.
Cherie Gil wishes to reprise her role in remake of "Manila by Night"
Author: Candice Lim
In 1980, Ishmael Bernal made a film that starred some of Philippines' best thespians—Bernardo Bernardo, Gina Alajar, Lorna Tolentino, AlmaMoreno, Rio Locsin, Orestes Ojeda, William Martinez, Charito Solis, and CherieGil. The film tackled the struggles of different characters immersed in drugsand prostitution, and trapped in an impoverished city.
The film was originally titled ManilaBy Night. Former First Lady Imelda Marcos ordered for the title to be changed, so as not dissociate Manila's image from what the Marcos regime has projected it to be. Some scenes were also asked to be cut and lines referringto "Manila" were edited.
The film was known as City After Dark. It went on to winfour Urian awards, including best picture, and several international recognitions.
Seventeen years later, there are talks of a remake of thecritically-acclaimed Bernal masterpiece.
Cherie Gil shares her thoughts about rumors of the remake.
"Okay lang, kung ako rin ang magpo-portray ng role na 'yon!This is the only time I'll probably ask and request na sana maaprubahan kokung sino man ang magpo-portray ng role ko."
The 44-year-old actress laughs, "Kung sino man, sana ako nahabang puwede pa! That's one of my favorite roles, e. Kaiba-iba. I don't mindplaying it again. I played Kano. I was a drug addict, pusher/lesbian."
Cherie believes that the film is one of Philippine cinema's best films.
"Ang ganda-ganda! I think it's still being credited in manyfilm festivals internationally. If I speak to people from Israel Film Festivalor people in that circle, if I mention Oro Plata Mata and Manila ByNight, they remember. They remember Manila By Night as City AfterDark. So they know these movies. Kahit nga daw si Quentin Tarantino, alamniya ‘yong City After Dark," she says with gusto.
She reveals that she would want to do the movie againbecause she feels that she could do more with her role now.
"Kasi nabitin ako doon, e. I have a lot of angst about that role because it was a very strongchance for me to get into the Urian league, and I was first nominated with thatmovie. Kabataan ko pa, [I was just] 17. Everybody clamors for this award-givingbody, especially as respectable as Urian. ‘Yon [Urian] ang isang award na hindiko pa nalalagay sa aking mantel.
"At that time, I was doing movies. Uso noon ang lagare.Konti lang kaming mga artista noon. We were doing four, five, six films at thesame time. Ang daming pelikula rin noon, 100 films a year. I was doing lagare,so to the point na hindi pa ako nakapag-dubbing. Si Louella [Albornos, fomer charactress actress], she dubbed for me.To give her credit, she really did a great job kasi nga tomboy, e, so bumagay‘yong boses niya na mababa. Pero ano na 'yon, parang point against me na 'yon nahindi ko nabuo ang trabaho."
Cherie has played several notable roles in films that havebeen rehashed as television series, like Palimos ng Pag-ibig, BituingWalang Ningning, Darna, and Sana'y Wala Nang Wakas (Pangarapna Bituin).
What does she think of remakes?
"Siyempre, the original is still the best,"Cherie smiles.
Post by: jdv1229 on Jan 29, 2008 at 07:32 PM
Just finished watching another Cinemanila Productions film. This one stars Dindo Fernando as a mental patient, with Lolita Rodriguez as a demon-like creature of his imagination. It also had Rosanna Ortiz, Anita Linda and a very young Julie Vega. Anyone know the title of this movie and who directed it? This movie's like an LSD trip. I actually found it cool -- especially the midget minions of Lolita Rodriguez who goad Fernando to do evil things.
The film is entitled Mortal, Mario O'Hara's directorial debut...
Post by: indie boi on Jan 29, 2008 at 07:47 PM
Slightly OT: Whatever happened to Rosanna Ortiz?
Post by: jdv1229 on Jan 29, 2008 at 08:03 PM
Ahhh! So that was Mortal! Thanks Jojo. I loved it. Dindo Fernando was really good here along with Lolita Rodriguez.
Slightly OT: Whatever happened to Rosanna Ortiz?
anytime indie! you're one of the few people i know who loved Mortal... i thought it was an impressive directorial debut as well. as for Rosanna Ortiz, i believe she is based somewhere in the US...
Post by: Noel_Vera on Jan 30, 2008 at 03:57 AM
Just finished watching another Cinemanila Productions film. This one stars Dindo Fernando as a mental patient, with Lolita Rodriguez as a demon-like creature of his imagination. It also had Rosanna Ortiz, Anita Linda and a very young Julie Vega. Anyone know the title of this movie and who directed it? This movie's like an LSD trip. I actually found it cool -- especially the midget minions of Lolita Rodriguez who goad Fernando to do evil things.
A Beautiful Mind / Mortal (http://movies.groups.yahoo.com/group/noelmoviereviews/message/300)
Post by: john m. on Jan 30, 2008 at 03:37 PM
Post by: indie boi on Jan 30, 2008 at 05:29 PM
I wonder how a movie like this was actually greenlit and how was it marketed to the public? This was an uncompromising art film, if I ever saw one.
Post by: Noel_Vera on Jan 31, 2008 at 09:42 AM
Of course, the family of the guy this film was based on sued and won, and Brocka ended up having to do a lot of films to pay for the debt when the company went bankrupt, thanks to this and Tatlo Dalawa Isa.
Rumor had it that Brocak gave O'Hara his directing job because O'Hara was Brocka's boytoy.
Which isn't true. And I know why...;D
Post by: indie boi on Jan 31, 2008 at 09:59 AM
Post by: indie boi on Jan 31, 2008 at 08:56 PM
hopefully, I'll get to finally catch Asedillo one of these afternoons.
Post by: Noel_Vera on Feb 01, 2008 at 02:18 PM
It's like Teshigahara. He directed films like Woman of the Dunes but his main occupation is headmaster of a school for ikebana--flower arranging. But apparently he's a master at it.
Probably his greatest onscreen role is in Tinimbang--but check it out yourself, see if you agree. Amazing thing, Lolita was O'Hara's mother in this movie--two years later they played lovers in two movies.
Post by: Noel_Vera on Feb 01, 2008 at 02:20 PM
On that intrigue--can't say anything more. Either I get permission from the parties concerned, or the parties concerned have to be deceased.
Post by: keating on Feb 03, 2008 at 10:23 AM
BEWARE: BED SINS (Mario O'Hara, 1985)
Slick, terrifying, hot. Mario O'Hara's contribution to the spate of local erotica that flourished during the ECP craze is something to talk about along with SCORPIO NIGHTS, TAKAW TUKSO, BOATMAN, PRIVATE SHOW, ISLA and ALAPAAP. High average technical craftmanship, Sarsi Emmanuelle is always a sight to behold whether screaming, disrobing and groping with her leading men. Obsession, paranoia, and fear are some of the ingredients thrown in. The suspense filled moments are effective enough and make you wish O'Hara pushed more the horror genre aside from the sex scenes thrown in. Just one gripe, this is the only local film that I've seen more than one psycho roaming in the movie. As the title tittilates you, its true......arousing and the magic realism are there!
Post by: Noel_Vera on Feb 03, 2008 at 01:30 PM
I thought it was more sexually explicit than Scorpio Nights.
Post by: keating on Feb 03, 2008 at 08:19 PM
Was it double? :o
Post by: keating on Feb 03, 2008 at 09:00 PM
ANG MAHIWAGANG DAIGDIG NI PEDRO PENDUKO (Celso Ad Castillo, 1973)
Delightfully charming, funny and wonderful. Watching it for the first time made me more amaze on the genius of Celso Ad Castillo. Once known as The Kid, he can always churn out any genre from drama, horror, film noir, bold and anything in between. The comic flair of the late Ramon Zamora is impecabble, same with comedian Panchito. Demands to be seen by anyone especially on the big screen. Released on the same year along with The Kid's horror masterpiece PATAYIN MO SA SINDAK SI BARBARA, and he was at his usual top form. The special effects are way way ahead during its time. The visuals are awesome. Ramon Zamora's battle scenes with the dragon and giant spider is one for the books, executed creepily. Makes you compare it with Frodo's battle with the giant spider also in RETURN OF THE KING minus the CGI effects. We don't make movies like this anymore.
Post by: Noel_Vera on Feb 04, 2008 at 05:08 AM
Post by: keating on Feb 04, 2008 at 06:03 PM
We have only one source here, Noel. Sent you pm. LOL! ;)
Post by: Noel_Vera on Feb 05, 2008 at 01:51 PM
Post by: keating on Feb 05, 2008 at 06:42 PM
Funny thing is almost every filmmaker jumped into the bold bandwagon during the mid-80's because of the ECP craze except for Mike de Leon.
WHITE SLAVERY- Brocka
GAMITIN MO AKO- Bernal
SENSUAL- Abaya
COMPANY OF WOMEN- Chionglo
ISLA- Castillo
ALAPAAP- Esteban
Post by: Noel_Vera on Feb 07, 2008 at 10:16 AM
Cloverfield (Matt Reeves, 2008) (http://criticafterdark.blogspot.com/2008/02/cloverfield-matt-reeves-2008.html)
American Gangster (Ridley Scott, 2007) (http://criticafterdark.blogspot.com/2008/01/american-gangster-ridley-scott-2007.html)
Atonement; Juno, Paprika; Sanib;Back Door to Hell (http://criticafterdark.blogspot.com/2008/01/atonement-juno-paprika-sanib-back-door_23.html)
Is Mario O'Hara Underrated or Over-the-hill? (http://criticafterdark.blogspot.com/2008/01/mario-ohara-underrated-or-over-hill.html)
Post by: keating on Feb 07, 2008 at 06:55 PM
The Stellar Art and Career of Elwood Perez
February 25-27, 2008
UP Film Institute
Feb 25 Monday-2 pm
NAKAWIN NATIN ANG BAWAT SANDALI (Sampaguita-VP Pictures, 1978)
A young couple's affair is marred by their feuding families and small-town intrigues. They meet years after as successful career people only to be drawn into another scandalous liaison.
Direction: Elwood Perez. Screenplay: Orlando Nadres. Cinematography: Gener Buenaseda.
Cast: Vilma Santos, Christopher de Leon, Baby Delgado
5 pm
TILL WE MEET AGAIN (Regal Films, 1985)
The majordoma's daughter in a rich household falls hopelessly in love with the family scion. Philippine Cinema's legendary loveteam is revived in this tremendous box-office hit!
Direction: Elwood Perez. Screenplay: Jose Javier Reyes, National Artist Rolando Tinio. Cinematography: Ricardo Jacinto
Cast: Nora Aunor, Tirso Cruz III, Dina Bonnevie, Edu Manzano, Armida Siguion-Reyna, Perla Bautista
7:30 pm
I CAN'T STOP LOVING YOU (Regal Films, 1985)
A singing star's success causes her break-up with a childhood sweetheart. It would be too late for her to recover their lost love.
Official Selection- 1985 Metro Manila Film Festival
Direction: Elwood Perez. Screenplay: Jose Javier Reyes, Ishko Lopez. Cinematography: Ricardo Jacinto. Cast: Nora Aunor, Tirso Cruz III, Rowell Santiago, Jackie Lou Blanco, Lani Mercado, Miguel Rodriguez, Nadia Montenegro, Richard Gomez
Feb 26- Tuesday 2pm
IBULONG MO SA DIYOS (Regal Films, 1988)
A down-on-her-luck ex-japayuki suffers indignities in the hands of the man she loves until a faithful suitor comes along.
Winner of 8 Major Awards: Best Picture, Best Director, Best Cinematpgraphy, Best Editing, Best Production Design, Best Song, Best Actress for Vilma Santos, Best Supporting Actor for Miguel Rodriguez- 1989 Famas.
Direction: Elwood Perez. Screenplay: Orlando Nadres. Cinematography:Ricardo Jacinto. Cast: Vilma Santos, Gary Valenciano, Miguel Rodriguez, Eric Quizon, Nida Blanca.
5 pm
MASARAP, MASAKIT ANG UMIBIG (Sampaguita Pictures 40th Anniv. Presentation, 1977)
A wealthy couple's sacrificing adopted son and wayward biological son vie for the love of the same woman.
Official Selection: 1981 ASEAN Film Festival, Sydney. Official Selection 1978 Asia-Pacific Film Festival, Taipei. Winner of Best Supporting Actor for Mat Ranillo III, 1978 FAMAS.
Direction: Elwood Perez. Screenplay: Orlando Nadres. Cinematography: Gener Buenaseda. Cast: Vilma Santos, Christopher de Leon, Mat Ranillo III, Anita Linda, Amado Cortez.
***Screening to be preceded by program in honor of Elwood Perez in attendance with distinguished guests.
7:30 pm
BILANGIN ANG BITUIN SA LANGIT (Regal Films, 1989)
A determined barrio lass grows up as a powerful woman who succeeds in acquiring the wealth of the proud man she appears to loathe and at the same time love since childhood. Winner of over 20 awards and distinctions including Best Picture, Best Director, Best Screenplay, Best Music, Best Production Design, Best Actor for Tirso Cruz III, Best Actress for Nora Aunor from various local award-giving bodies- FAMAS, FAP, PMPC, URIAN.
Direction: Elwood Perez. Screenplay: Jake Cocadiz, Jigz recto. Cinematography:Ricardo Jacinto. Cast: Nora Aunor, Tirso Cruz III, Miguel Rodriguez, Gloria Romero, Perla Bautista, Ana Margarita Gonzalez.
Feb 27- Wednesday
2 pm
ISANG GABI, TATLONG BABAE (Juan dela Cruz Productions, 1974)
The three-part social drama unravels chronicles of an upper-class stepmother falling in love with her stepson, a lady of the slums torn between her bastard son and her good-for-nothing lover, and a social climbing fashion model belittling her adoptive parent. The film sealed Elwood Perez' reputation as a foremost serious film director as it merited front-page yearend review in a leading national daily proclaiming it one of the year's three best films.
Nominations for Best Picture, Best Director, Best Actress for Amalia Fuentes, Boots Anson-Roa, Pilar Pilapil, other citations from Catholic Mass Media Awards.
Direction: Elwood Perez, Screenplay: Wilfrido Nolledo, Orlando Nadres, Joey Gosiengfiao, Douglas Quijano. Cinematography: Rudy Dino, Rey de Leon. Cast: Amalia Fuentes, Boots Anson-Roa, Pilar Pilapil, Luis Gonzales, Ricky Belmonte, Orestes Ojeda, Marissa Delgado, Mona Liza, Ray Marcos.
5 pm
PAKAWALAN MO AKO (MVP Pictures, 1981)
An escort service girl is junked by her fiance upon the revelation of her profession kept secret from the man. Winner of Best Actress for Vilma Santos. Nominations in major categories including Best Picture, Best Director, Best Story, Best Screenplay, Best Actor for Christopher de Leon, Best Supporting Actor for Anthony Castelo, Best Supporting Actress for Deborah Sun-1982 FAMAS.
Direction: Elwood Perez, Screenplay: Pete Lacaba, Mauro Gia Samonte, Ishko Lopez. Cinematography: Gener Buenaseda. Cast: Vilma Santos, Christopher de Leon, Anthony Castelo, Deborah Sun, Mila Ocampo.
7:30 pm
ANG TOTONG BUHAY NI PACITA M (MRN Films, 1991)
A bawdy two-bit singer in a cheap pub is shattered when her teenage daughter the only one true love of her life is hit by a stray bullet.
Best Picture, Best Director, Best Screenplay, Best Story, Best Editing, Best Sound, Best Music, Best Actress for Nora Aunor-1991 MMFF, more distinctions from all local award giving bodies including FAMAS, FAP, PMPC, URIAN, YOUNG CRITICS CIRCLE. Official Selection in Main Competition for Silver Screen Awards 1992 Singapore Intl. Film Festival. Official Selection 1992 Toronto IFF/Hawaii IFF/India IFF, New Delhi. Southeast Asian Film Festival, Amsterdam.
Direction: Elwood Perez. Screenplay: Ricardo Lee. Cinematography: Ricardo Jacinto. Cast: Nora Aunor, Lotlot de Leon, Armida Siguion-Reyna.
Post by: Noel_Vera on Feb 10, 2008 at 02:34 PM
Post by: RMN on Feb 11, 2008 at 12:41 PM
Director: Gerry de Leon, Philippines, 1961
Post by: Noel_Vera on Feb 13, 2008 at 05:50 AM
Anyone seen Altar? Think it's Rico Ilarde's best to date. I think Dodo disagrees...?
Post by: oggsmoggs on Feb 13, 2008 at 10:08 AM
I'm tired of threads bashing Philippine cinema.
Anyone seen Altar? Think it's Rico Ilarde's best to date. I think Dodo disagrees...?
I agree, it's Ilarde's best film. I think Dodo has a soft spot for Cogon.
Post by: oggsmoggs on Feb 13, 2008 at 11:19 AM
Post by: X44 on Feb 13, 2008 at 01:01 PM
Post by: oggsmoggs on Feb 14, 2008 at 11:07 PM
Intramuros (The Walls of Hell, Gerardo de Leon & Eddie Romero, 1964) (http://oggsmoggs.blogspot.com/2008/02/intramuros-1964.html)
Post by: Noel_Vera on Feb 15, 2008 at 03:27 PM
There's a scene where a group of Filipinos under guard are rescued that's particularly riveting.
This, incidentally, makes an interesting contrast with Monte Hellman's Back Door to Hell.
Post by: oggsmoggs on Feb 15, 2008 at 05:53 PM
Good stuff, oggs. I asked Teddy Co once which parts de Leon directed and Romero, and he said all the memorably visual stuff was probably de Leon's.
There's a scene where a group of Filipinos under guard are rescued that's particularly riveting.
This, incidentally, makes an interesting contrast with Monte Hellman's Back Door to Hell.
Thanks Noel, I saw Eddie Romero's The Ravagers and while it doesn't have the distinct visual flair of Intramuros, it furthered the intriguing persona of FPJ, from subversive macho man in Intramuros to the heroic romantico of The Ravagers, hinting of a romantic attraction between him and the lead Caucasian girl.
I'd have to see Back Door to Hell, or any Hellman for that matter.
Post by: Noel_Vera on Feb 16, 2008 at 03:05 PM
Post by: X44 on Feb 16, 2008 at 04:05 PM
That and Two Lane Blacktop are great, among many others.
Two Lane Blacktop - - agree. The Shooting, too. And all the action stuff from the Verhoeven Robocop which he directed but was never credited with.
Post by: Noel_Vera on Feb 16, 2008 at 04:41 PM
Need to see Flight to Fury.
Post by: X44 on Feb 18, 2008 at 11:17 AM
Post by: Noel_Vera on Feb 18, 2008 at 01:37 PM
Post by: keating on Feb 19, 2008 at 07:04 AM
Author: Elyas Isabelo Salanga
At the height of Regal Films' fame, it had produced over 52 movies up to the year 1995 when 90 percent of its films made the box-office. Things change, but one can be sure that Regal paved the way for actors and actresses and introduced new faces for this generation.
All of these were made possible with the help of birthday celebrant Mother Lily Monteverde, who forged the foundation of Regal and turned it into something more than a showbiz establishment: a close-knitted family.
Startalk's Butch Francisco indulged the viewers with his interview about Mother Lily's favorites, her thoughts in the business, and her motherly advice for Angel Locsin.
Of all the Regal babies, who was Mother Lily's favorite?
"Well, I think all of them," Mother Lily said, laughing, "because of the early '80s; there was Gabby Concepcion, Dina Bonnevie, Maricel [Soriano], Snooky. When I was new, ang ganda ng bonding namin. They would go to my house, play with my kids, yung mga ganun. It's like a family."
Of the sweetest of all her alagas, Mother Lily gave a surprising answer: "I think it's Maricel. She is very frank but she's very sweet and very sincere with the way she talks."
Most malambing?
"I would have to say Snooky," Mother Lily said.
When asked who was the most pasaway, Mother Lily laughed and gave the same answer. Does it have anything to with Snooky being home-based and all?
"Well, it's a matter where I would sometimes have to go to their house to pick her up," she said.
Then on a more serious tone, Mother Lily shared how hurt she was when Snooky crossed the bridge and made a film with Viva Films, Regal's fiercest rival at that time. It pained her and really made her cry but she said that she still loves Snooky very much.
Who are her crushes in showbiz?
"Gabby Concepcion and also Alfie Anido," Mother said without hesitation. Alfie was one of the most popular and most handsome young actors in the early '80s. He committed suicide at the age of 22, although there were also rumors that he was murdered.
If she were a lesbian, who would Mother Lily admire?
"Maricel [Soriano]," she gamely answered.
How much is Lily Monteverde's net worth now?
"Wow, BIR [Bureau of Internal Revenue]!" Mother Lily laughed. "Okay naman, it's enough for my family."
ANGEL LOCSIN. The topic then shifted to a more serious note when Mother Lily talked about how frustrated she is at Angel Locsin. The Regal matriarch said that Angel didn't honor her contract with Regal in favor of the two-year movie contract she signed with Star Cinema. According to Mother Lily, Angel's contract was exclusive and the young actress still has a three-picture contract with Regal.
"She has to honor her contract," Mother Lily began, "I told them not to sign, pero sinign pa kaya parang wala naman silang respeto sa akin. In fact, before Angel made her movie [Angels], her manager Becky [Aguila] went to see me to ask permission from me just to allow her [Angel] to do her own film. In fact, she agreed that they still had a three-picture contract with me. All of the sudden, nagbago. "
How did it change? What did Mother Lily mean by "nagbago"?
"They signed with Star Cinema," Mother explained, "Tita Becky said to Roselle [Monteverde-Teo, Mother Lily's daughter] na she won't sign the contract, and then Roselle heard na Angel signed already."
Mother Lily pointed out that what she really wanted was respect. Respect in that Angel should settle things first before signing up with another contract since "we are like a family."
But as the interview progressed, Mother Lily admitted that she still cares for Angel and that she loves her.
"Siyempre," she said. "I also still feel bad sa itong nangyayari; sana maayos na. Those were the days na I remember na kasama ko si Angel, parang anak ko na. Pag meron siyang problema, she consulted me. We became close talaga. It hurts me because I don't see her anymore and she doesn't even want to talk to me. Sometimes I call her, pero hindi naman niya sinasagot ang call; nasasaktan ako. But still, I can always forgive her.
"For Angel, I wish her good luck."
Post by: Noel_Vera on Feb 19, 2008 at 10:27 PM
Post by: thegoodbyeguy on Feb 24, 2008 at 02:21 AM
MR. VIC SILAYAN- The late thespian actor finally has his own website. Still in the works though but the layout is very impressive. Thanks for Mr. Jay Silayan. Just visit http://vicsilayan.com/ (http://vicsilayan.com/) :)
Post by: oggsmoggs on Mar 07, 2008 at 11:23 PM
Post by: oggsmoggs on Mar 10, 2008 at 01:56 PM
Post by: oggsmoggs on Mar 17, 2008 at 11:23 PM
Post by: Noel_Vera on Mar 20, 2008 at 11:18 AM
Post by: oggsmoggs on Mar 20, 2008 at 01:48 PM
Is that available online, oggs? I swear, I've waited years (four to be exact) for Tikoy to mail me a copy...
I'm not sure if it's available online but it's out on DVD here (you can get it for P100 or P150). If you can't find a copy, I'll be glad to mail you mine.
Post by: oggsmoggs on Mar 20, 2008 at 02:43 PM
Post by: oggsmoggs on Mar 21, 2008 at 11:33 AM
Post by: Noel_Vera on Mar 23, 2008 at 01:57 PM
Post by: keating on Mar 31, 2008 at 11:11 AM
Mike de Leon's ALIWAN PARADISE a segment of the omnibus SOUTHERN WINDS is pure fun, a genuine brilliant satire look at the two doomed characters of Brocka's MAYNILA SA KUKO NG LIWANAG.
Post by: wedge on Mar 31, 2008 at 11:12 AM
Post by: keating on Mar 31, 2008 at 11:26 AM
Post by: rse on Apr 03, 2008 at 11:37 PM
Post by: rse on Apr 04, 2008 at 04:01 AM
Post by: rse on Apr 10, 2008 at 01:18 AM
Post by: RMN on Apr 10, 2008 at 12:00 PM
Post by: keating on Apr 10, 2008 at 01:33 PM
Saw Jose Javier Reyes' Sakal, Sakali, Saklolo. Not as good as the original but still very entertaining. Gina Pareno is still hilarious...Some gripes...I usually like Freddy Webb (especially in the long-running sitcom Chicks-to-chicks) but here, he's just awful. And I pity the non-actor who played Judy-Ann's young step-brother who's used mainly for comic relief. I'm still very much recommending it, it's a lot better than your usual Pinoy comedies.
How's Ariel Ureta in this film? He was so comically brilliant in the omnibus trilogy ZOOM ZOOM SUPERMAN & SI POPEYE ATBP back in the early 70's.
GULONG will be a future classic, its MAGNIFICO meets STAND BY ME in more light-hearted manner. Its the kind of film that you'll revisit more often to remember the good old days of your childhood life.
Post by: rse on Apr 10, 2008 at 11:51 PM
How's Ariel Ureta in this film? He was so comically brilliant in the omnibus trilogy ZOOM ZOOM SUPERMAN & SI POPEYE ATBP back in the early 70's.
GULONG will be a future classic, its MAGNIFICO meets STAND BY ME in more light-hearted manner. Its the kind of film that you'll revisit more often to remember the good old days of your childhood life.
Ariel Ureta played it straight (no obvious comedic moments for him) and I think he played it effectively.
Gulong I like, but I have some reservations. I don't think it's as good as Magnifico though.
Post by: rse on Apr 18, 2008 at 05:37 PM
Saw Tata Esteban’s Alapaap. It’s basically a revenge ghost story hallucinated by an amateur junkie scriptwriter. There’s a lengthy song number at the beginning that’ surreal and bizarre. The whole story doesn’t really make sense but since it’s mostly dreamt it doesn’t seem to matter. I didn’t really like it because I usually don’t like movies that turns out to be just a dream in the end. In any case there were a few nice creepy scenes and it doesn’t hurt the ghost is quite a beauty.
Post by: rse on Apr 20, 2008 at 11:18 PM
Post by: rse on Apr 21, 2008 at 03:03 AM
Post by: jdv1229 on Apr 21, 2008 at 09:21 AM
Post by: Noel_Vera on Apr 22, 2008 at 11:46 AM
Post by: RMN on Apr 22, 2008 at 02:22 PM
Post by: Noel_Vera on Apr 24, 2008 at 09:24 AM
Post by: wedge on Apr 24, 2008 at 09:42 AM
Post by: rse on Apr 25, 2008 at 05:04 AM
Post by: rse on Apr 26, 2008 at 11:53 PM
Post by: jdv1229 on Apr 27, 2008 at 02:06 AM
Post by: Noel_Vera on Apr 27, 2008 at 09:35 AM
Post by: keating on Apr 27, 2008 at 06:43 PM
Post by: rse on Apr 27, 2008 at 09:53 PM
I've finally seen Laurice Guillen's Init sa Magdamag. I like it but I still prefer her Salome. What did I like? Dindo Fernando. I haven't seen him play this kind of character before. It's so out of his character, and the gamble paid off. Lorna's great as well carrying the movie on her shoulder. I also think that this is one of Joel Torre's greatest performances. Aside from that, I also love the theme song. Was it written specifically for this movie?? Some quibbles.... I think that the "modeling shoot" in the middle of the film went on for too long, so was the seduction dance/striptease scene (also the songs used to accompany them dated the movie). I didn't buy the "multiple characters" angle. It doesn't feel real; more of a "clever" devise than anything. The sex scenes are well-done but the absence of flesh distracted me a little bit. I would prefer to see a more flesh in these types of movie. I didn't like the ending sequence; I think it's clumsily done. Although I love the freeze frame last shot in the end.
Post by: rse on Apr 27, 2008 at 10:19 PM
Bakit Bughaw Ang Langit?
http://www.kabayancentral.com/video/others/cpotbbal.html
I've seen this and this is one of Mario O Haras' best. Also one of Nora's.
Kastilyong Buhangin
http://www.kabayancentral.com/video/others/cpotkbuhangin.html
I haven't seen this one but I've heard good things about it.
Post by: thegoodbyeguy on Apr 28, 2008 at 12:59 AM
Some great news. Saw this at Kabayan Central today.
Bakit Bughaw Ang Langit?
http://www.kabayancentral.com/video/others/cpotbbal.html
I've seen this and this is one of Mario O Haras' best. Also one of Nora's.
Kastilyong Buhangin
http://www.kabayancentral.com/video/others/cpotkbuhangin.html
I haven't seen this one but I've heard good things about it.
As well as T-BIRD AT AKO. Also released along with the two mentioned.
Post by: Noel_Vera on Apr 28, 2008 at 07:03 AM
Init should properly be sung to you in a karaoke bar by the tres beautiful writer of the film, Racquel Villavicencio. Terrific singer, and sexy as hell. I swear, I stood at full attention during the performance. Literally. ;D
Lorna was well-endowed in this film because she was pregnant when shooting.
And it isn't quite a 'multiple character' film. The theme is something more basic--goes to the very nature of women, and man-woman relations. Hint: she's not meant to be seen as psychologically abnormal. And it's not too different from The Story of O.
Post by: rse on Apr 29, 2008 at 12:51 AM
I like Salome--Guillen's directing is fluid and lyrical here--but it still feels to me like Ricky Lee's umpteenth remake of Rashomon.
Init should properly be sung to you in a karaoke bar by the tres beautiful writer of the film, Racquel Villavicencio. Terrific singer, and sexy as hell. I swear, I stood at full attention during the performance. Literally. ;D
Lorna was well-endowed in this film because she was pregnant when shooting.
And it isn't quite a 'multiple character' film. The theme is something more basic--goes to the very nature of women, and man-woman relations. Hint: she's not meant to be seen as psychologically abnormal. And it's not too different from The Story of O.
I've heard somewhere that Rickey Lee's early draft of Salome was linear, classical form and that it's also great! Maybe he saw Rashomon when he was finalising it and was inspired by it...Did he write, Itanong Mo Sa Buwan? That's very Rashomon-like as well. Salome is very atypical Guillen movie. It's lyrical and visual. It's like Celso Ad Castillo directed it but you know that it's not his because the narrative is a lot more cohesive.
Racquel Villavicencio...Is she the Mama San in Prosti? If so, she's also a terrific actress..!
Yes I've noticed that Lorna's were very "big". I was telling my wife that I didn't remember hers being that big...She's so lovely in this picture....
Post by: rse on Apr 29, 2008 at 01:14 AM
Post by: Noel_Vera on Apr 29, 2008 at 04:59 AM
Itanong is by Bing Lao. Other Rashomon wannabes include Brutal (the Butch Perez version). Karnal has some of that time twisting flavor too, if you think of Charito Solis as the woodcutter.
Post by: chalkdust_ on May 09, 2008 at 12:27 AM
I'm only just beginning to build a collection of Filipino movie DVDs but have only so far gotten "Ang Tatay Kong Nanay" and I'm planning on getting "Insiang", "Mumbaki" and "Tulad Ng Dati" once I can afford them. That said, are there any great Filipino movies (DVD format) you guys can recommend (comedies very welcome!)?
Post by: rse on May 09, 2008 at 01:45 AM
If I may, does anyone know where I can acquire proper copies of "Kakabakaba Ka Ba?" and "Itim"? I saw the UP Videotheque advertise for a screening of the latter last May 07 but I wasn't able to watch. I've been dying to watch those two movies but I never could catch them on television. :-[
I'm only just beginning to build a collection of Filipino movie DVDs but have only so far gotten "Ang Tatay Kong Nanay" and I'm planning on getting "Insiang", "Mumbaki" and "Tulad Ng Dati" once I can afford them. That said, are there any great Filipino movies (DVD format) you guys can recommend (comedies very welcome!)?
Kakabakaba ka ba DVD is available from Kabayan Central @ USD 29.99 + shipping
http://kabayancentral.com/video/lvn/cplvnkkkb.html
Post by: keating on May 09, 2008 at 07:16 AM
If I may, does anyone know where I can acquire proper copies of "Kakabakaba Ka Ba?" and "Itim"? I saw the UP Videotheque advertise for a screening of the latter last May 07 but I wasn't able to watch. I've been dying to watch those two movies but I never could catch them on television. :-[
I'm only just beginning to build a collection of Filipino movie DVDs but have only so far gotten "Ang Tatay Kong Nanay" and I'm planning on getting "Insiang", "Mumbaki" and "Tulad Ng Dati" once I can afford them. That said, are there any great Filipino movies (DVD format) you guys can recommend (comedies very welcome!)?
Peque Gallaga's masterpiece and best film is now available on dvd.....ORO PLATA MATA.
Post by: juanch on May 09, 2008 at 08:36 AM
Peque Gallaga's masterpiece and best film is now available on dvd.....ORO PLATA MATA.
Yeah I just bought it last week, real good film
It runs for more than 3 hours ;)
Post by: RMN on May 09, 2008 at 05:07 PM
Wanna learn the art of filmmaking from Celso Ad, Leo Martinez, Rolly Ruta, Manny Morfe, Ed Palmos, Maryo J. et. al? Then prepare to pay 100k a year (or around 8k a month) and enroll at the APFI (http://www.asiapacificfilm.com)!
:o
Post by: chalkdust_ on May 09, 2008 at 11:05 PM
Kakabakaba ka ba DVD is available from Kabayan Central @ USD 29.99 + shippingYes! I followed your link and I do believe I'll be making that purchase next. Thanks!
http://kabayancentral.com/video/lvn/cplvnkkkb.html
Peque Gallaga's masterpiece and best film is now available on dvd.....ORO PLATA MATA.
That one definitely looks interesting. I saw it at Astrovision today. :) Thanks for the suggestion.
Now where to find Itim and several not quite so serious films like Pepe En Pilar, Pik Pak Boom, Dear Diary, and Halimaw Sa Banga? I know there's talk of searching for and archiving the 'great films' like the Brockas, Bernals and De Leons (to name a few) but what about the *others*? Surely they're also part of Philippine Film History at the very least to gauge the tastes of people during certain periods in time.
Post by: rse on May 09, 2008 at 11:44 PM
Yes! I followed your link and I do believe I'll be making that purchase next. Thanks!
That one definitely looks interesting. I saw it at Astrovision today. :) Thanks for the suggestion.
Now where to find Itim and several not quite so serious films like Pepe En Pilar, Pik Pak Boom, Dear Diary, and Halimaw Sa Banga? I know there's talk of searching for and archiving the 'great films' like the Brockas, Bernals and De Leons (to name a few) but what about the *others*? Surely they're also part of Philippine Film History at the very least to gauge the tastes of people during certain periods in time.
You might want to check out TFC Now's Movie Channel: http://now.abs-cbn.com/index-mc.aspx . It's subscription-based, USD 7.95/month. They have quite a number of Experimental Cinema of the Philippines-produced classics, FPJ movies, a few Brocka's, Bernal's, and O Hara's, etc. BTW, as far as I know, they have Halimaw sa Banga.
Post by: Noel_Vera on May 10, 2008 at 04:31 AM
Post by: rse on May 10, 2008 at 12:57 PM
the only negative thing is that the videos are DRM'ed so you won't be able to play them once your subscription has expired. ;D
Post by: Noel_Vera on May 10, 2008 at 03:14 PM
Post by: chalkdust_ on May 10, 2008 at 03:29 PM
yes they are uncut (at least the ones I sampled; e.g., Oro Plata Mata clocks at 3 hours and 14 minutes) and no commercial, and the videos are clear. you can either stream or download them. the screen size is quite small @ 320 X 240.
the only negative thing is that the videos are DRM'ed so you won't be able to play them once your subscription has expired. ;D
so even if i download the film, it'll expire? and the screen size is small?
huh. that's a little steep. still, thanks for the info. i did see halimaw sa banga, zuma, and karnal and i am interested but man! :-\
Post by: rse on May 10, 2008 at 05:07 PM
Post by: rse on May 11, 2008 at 02:25 PM
Post by: chalkdust_ on May 11, 2008 at 04:18 PM
i only read about it in a humanities textbook my brother lent me when i was a freshman in college. the book told about the basic plot and imagery. actually it was the usage of clocks in the design (as it was described in the book) that made me want to see it.
and that was six years ago and i still haven't seen the movie. i wonder if there's a chance that it'll come out in DVD soon...
Post by: rse on May 12, 2008 at 01:36 PM
Some scenes just went on and on and on. It seems like the director was so in loved with his shots that he's afraid to cut or trim them. A second edit would have helped tremendously. The running time is only 1 h 30 mins but it felt a lot loooonger. I cannot stand the neighbor with the tatoo (and the symbolism's too obvious). Robin's kid in this movie is your typical child actor who sing songs his lines. Too bad because he's such a crucial character in this movie.
P.S. Is it just me, or, Robin Padilla looks very much like the comedian Tado in this movie??
Post by: pinoymovies on May 14, 2008 at 09:27 PM
So it's downloaded and not cable? We get to see great films through a mail slot?
works the same way as Netflix's "Instant Watch". You can subcribe for a month but you also have the option to pay per view $1.99 for the old movies and $4.99 for the new releases.
Post by: rse on May 18, 2008 at 06:37 PM
Post by: oggsmoggs on May 18, 2008 at 07:24 PM
Post by: keating on May 21, 2008 at 06:00 PM
BY SAM L. MARCELO
Pinoy movie showdown
MOVIE REVIEW
When Love Begins
Directed by Jose Javier Reyes
Ploning
Directed by Dante Nico Garcia
WELCOME, FANS, to the most talked about showdown in recent Pinoy movie history! In the blue corner, wearing board shorts and a bikini top, we have When Love Begins, a Jose Javier Reyes romance starring Aga Muhlach and Anne Curtis. And in the red corner, sporting a yellow-blouse-red-skirt combo, is Ploning, Dante Nico Garcia’s movie based on a Cuyonon folk song. Both clock in at 1 hour and 45 minutes; however, only one will survive this head-to-head contest consisting of several arbitrary categories. Let the fight begin!
(http://i103.photobucket.com/albums/m132/keating_01/ploning1-1.jpg)
Judy Ann Santos (L) and Mylene Dizon (R) star in Ploning Title: Let’s say you had no prior knowledge of these two films and were asked to choose which one to watch based solely on their titles. Ploning sounds like a typhoon, fit to be included among the likes of Reming and Rosing. It doesn’t give anything away and you’re left to wonder what it’s about. When Love Begins, on the other hand, has more cheese than France (no offense to the French, who are among the biggest exporters and consumers of the dairy product) and you automatically know what to expect. Ploning wins for being as enigmatic as a Zen koan.
Love Team: Mr. Muhlach goes through much of When Love Begins with a hangdog expression on his face and his boyish charm erases the big age difference between him and Ms. Curtis. They have onscreen chemistry, but the cuteness can get cloying. While we never get to see Tomas, Ploning’s lost love, we do see Judy Ann Santos (who plays the title character) and her affectionate relationship with Digo, a little boy, and almost everyone in the small town of Cuyo. Ploning wins for pulling off a love story without shoving it down our throats.
Story: When Love Begins is a predictable flirt fest between Mr. Muhlach, a lawyer-turned-environmental-activist, and Ms. Curtis, the daughter of a real estate developer. Based on that alone, it doesn’t take a genius to guess what comes next. Figuring out Ploning is harder because it takes its time before revealing its hand. At first you think it’s about Tomas coming back, and then you think it’s about Mylene Dizon’s character stealing Ploning’s queen-bee status, and then you think it’s about female relationships and sisterhood in a Steel Magnolias kind of way. Ploning’s tapestry beats the one-note performance of When Love Begins.
Anne Curtis and Aga Mulach in When Love Begins Soundtrack: What would you rather listen to, prom slow dance songs or Filipino folk music? I found the harmony of voices and guitars on Ploning soothing. As a matter of fact, I’m listening to a version of it right now via YouTube. Adding to the lyrical nature of Ploning is the melody of the Cuyonon dialect. I would never search for any of the songs on When Love Begins; I hear enough of their type in buses and cabs.
Cinematography: Ploning does a great job of showing off Cuyo, Palawan. Shots of beautiful sunsets and rough beaches will entice audiences to head to the island and experience the quiet rural life themselves. The colors on Ploning are also more vibrant; they pop off the screen and make you lean forward. The only thing outstanding about the When Love Begins version of Boracay is how uncrowded it is.
Audience Impact: Overheard while watching When Love Begins, "Ba’t tayo nandito? Wala namang kwento. Sana Ironman na lang pinanuod natin (Why are we here? There’s no story. We should’ve watched Ironman instead)." Overheard in Ploning, scattered chuckles and sniffles at the appropriate moments. Ploning wins for engaging all five of its viewers. When Love Begins also wins for attracting enough people to fill up the theater despite its lack of a story.
Final Decision: The beskirted Ploning knocks out When Love Begins with a sitout three-quarter facelock jawbreaker (better known as a Stone Cold Stunner to wrestling fans).
Post by: telonistas on May 23, 2008 at 11:54 AM
by Jay Weissberg / Variety Asia Online
Reality Rudely Intrudes in the Screening Rooms - Serbis et al (http://www.nytimes.com/2008/05/19/movies/19cann.html)
by A.O. Scott - Cannes Journal/The NYTimes
Post by: celinokyle on May 24, 2008 at 04:26 PM
Kakabakaba ka ba DVD is available from Kabayan Central @ USD 29.99 + shipping
http://kabayancentral.com/video/lvn/cplvnkkkb.html
Isn't this film available in AstroPlus/AstroVision or Odessey? I really REALLY love to have my own copy.
Post by: sosy_high on May 24, 2008 at 06:46 PM
Post by: keating on May 24, 2008 at 08:50 PM
Film Review: 'Serbis'
Bottom line: An engaging domestic drama and stylishly seamy homage to the gay cinema rendezvous.
May 21, 2008
By Maggie Lee
Cannes Film Festival, In Competition
Taking place mostly in a porno theater ironically, yet fittingly, named Family, "Serbis" is part homage to cinema, part intimate domestic drama that vividly details the tangled relations and all-too human frailties of an extended family running a theater in the provincial Philippines.
Director Brillante Mendoza continues the neo-realist vein of "Foster Child" and "Sling Shot" in "Serbis," but displays marked improvement -- both the grunge aesthetic and film language now bear his personal handwriting. To this, he adds some bristling sexuality, both gay and straight.
"Serbis" contains elements of soap opera from popular Philippine cinema and TV, but without any of the froth and lather. Unspooling at an almost real-time pace, with a narrative that is all foreplay and no conventional climax, the film won't win any commercial converts to the Philippine new wave. Festival and art-house bookings are optimistic though.
The film adopts a worldly and tolerant attitude in dramatizing the double standards in operation every day at a porn theater that has involved into a hotbed for rentboys to service gay clients (hence the title, which means "service"). Gena Pareno ("Kubrador") is a towering presence, who puts fire and tears into her multiple roles -- as a wife clenching the bitterness of abandonment, an aggrieved mother feeling betrayed by her children's divided loyalty to their father and the pillar that holds together the tottering family business.
But the theater itself may be the film's real star. Flooded toilets, running sores and steamy sex behind the projector that outperforms what's happening on screen create a dank, dripping texture and festering mood that echo most of Tsai's oeuvre.
The camera explores each nook and cranny of the dilapidated movie-house like an usher who knows his way round blindfolded, and the building, with its richly visual interior structures desperately in need of an overhaul, comes to symbolize poetically the predicament of its inhabitants and their moral ambiguity.
Cast: Gina Pareno, Jaclyn Jose, Coco Martin, Roxanne Jordan. Director: Brillante Mendoza. Screenwriter: Armando Lao. Producer: Ferdinand Lapuz. Director of photography: Odyssey Flores. Production designer: Benjamin Padero, Carlo Tabije. Music: Gian Gianan. Editor: Claire Villa-Real.
Center Stage Prods./Swift Prods.
Sales: Fortissimo Films.
Post by: oggsmoggs on May 26, 2008 at 05:37 PM
Post by: keating on May 27, 2008 at 05:26 PM
The recent Elwood Perez retrospective at U.P. Film Center finally gave the chance to watch the alter ego of the late Joey Gosiengfiao screen one of his early opus from Juan dela Cruz Prods., a company he formed along with Gosiengfiao and Douglas Quijano in the early 70's. As the title entice you to peek into the world of the three loveliest women ever to grace on the silverscreen, the copy was so bad taken from the television broadcast of Sinemax aired from GMA 7 at 9:00 pm every Friday nights. Still it was a rare treat, slick and adding some social commentary particularly on the first two episodes with Pilar Pilapil and how she cope up with her mother reminiscent of a Brocka film that you've seen on the late 70's. Second episode is more intriguing, Boots Anson Roa, in a role nobody could ever imagined would be deflowered wearing only ordinary clothes set in the slums area and how she cope up also with her rebellious son who is against her relationship with her lover. Boots looks beautiful and sensual during her younger days. The final episode deals with a woman falling in love with her stepson played to perfection with Amalia Fuentes and Orestes Ojeda. When Perez' camera starts to linger on Fuentes face, we can't help but to admire and basked in her stunning face, the face that could launch a thousand ships....no angle so to speak of. You will never get tired of that face! Adding some comic relief there's the late Mary Walter playing the lesbian bodyguard of Fuentes. These three women embodies the films of Perez, not only using their bodies but their mind as well to fight for their rights and liberty in a man's world. And Elwood Perez certainly succeeds.
Post by: keating on May 31, 2008 at 11:23 AM
SANTIAGO (Lino Brocka, 1970)
Before Peque Gallaga's ORO PLATA MATA and Mario O'Hara's TATLONG TAONG WALANG DIYOS, there was SANTIAGO produced by Lea Prods, the company that gave Brocka his first debut film via WANTED: PERFECT MOTHER. Although a video copy only exists now, still a worth look that deals with horror and sufferings of the Filipinos during the 2nd World War. Big in scope, opening scene is close to a real stunner, Brocka has assembled some of the finest actors including the late Fernando Poe, Jr. The long-tracking shots on the last few scenes denotes this as the most-visually appealing on all the filmography of the late master filmmaker. The flashback sequences particularly on the husband and wife team of Caridad Sanchez and Mario O'Hara is probably the most sympathetic of all the characters I've seen on all his films including that powerful topless shot of Sanchez that resonates with empathy and too much sufferings. SANTIAGO might not be on the lists of all his masterpiece but worth to revisit because he was not in total control of the finished product but under the control of a home studio. But given a large budget and big cast, Brocka can always deliver the goods.
Post by: oggsmoggs on Jun 06, 2008 at 12:54 PM
Post by: Noel_Vera on Jun 09, 2008 at 11:32 AM
Santiago (Lino Brocka, 1970) (http://criticafterdark.blogspot.com/2008/05/santiago-lino-brocka-1970.html)
Kakabakaba Ka Ba? (Does Your Heart Beat Faster? Mike de Leon, 1980) (http://criticafterdark.blogspot.com/2008/05/kakabakaba-ka-ba-does-your-heart-beat.html)
The Chronicles of Narnia: Prince Caspian (Andrew Adamson, 2008) (http://criticafterdark.blogspot.com/2008/06/chronicles-of-narnia-prince-caspian.html)
Indiana Jones and the Kingdom of the Crystal Skull (Steven Spielberg, 2008) (http://criticafterdark.blogspot.com/2008/05/indiana-jones-and-kingdom-of-crystal.html)
Indiana Jones movies (http://criticafterdark.blogspot.com/2008/05/indiana-jones-movies-raiders-of-lost.html)
Perfect Creature (Glenn Standring, 2006) (http://criticafterdark.blogspot.com/2008/05/perfect-creature-glenn-standring-2006.html)
Deception (Marcel Langenegger, 2008) (http://criticafterdark.blogspot.com/2008/05/deception-marcel-langenegger-2008.html)
Post by: Noel_Vera on Jun 16, 2008 at 03:13 PM
Post by: Noel_Vera on Jun 17, 2008 at 11:35 AM
Quiz on Philippine cinema (http://criticafterdark.blogspot.com/2008/06/quiz-answered-exclusively-with-titles.html)
Summer movies (Iron Man, Kung Fu Panda, Paranoid Park) (http://criticafterdark.blogspot.com/2008/06/summer-movies-iron-man-kung-fu-panda.html)
Post by: rse on Jun 18, 2008 at 12:14 AM
John Torres' latest film (http://criticafterdark.blogspot.com/2008/06/taon-noong-akoy-anak-sa-labas-years.html)
Quiz on Philippine cinema (http://criticafterdark.blogspot.com/2008/06/quiz-answered-exclusively-with-titles.html)
Summer movies (Iron Man, Kung Fu Panda, Paranoid Park) (http://criticafterdark.blogspot.com/2008/06/summer-movies-iron-man-kung-fu-panda.html)
Nice article on Quiz on Phil. Cinema...
Agree with Paranoid Park. I own the DVD..Liked it a lot! Havent seen Iron Man and KungFu Panda yet... :-)
Post by: Noel_Vera on Jun 18, 2008 at 07:39 AM
Post by: RMN on Jun 20, 2008 at 01:26 PM
Post by: oggsmoggs on Jun 24, 2008 at 10:22 PM
Post by: oggsmoggs on Jun 27, 2008 at 10:52 PM
Post by: keating on Jul 04, 2008 at 08:51 AM
• Balikbayan Box, Ramon Mez de Guzman
• The Bet Collector (Kubrador), Jeffrey Jeturian
• Blackout, Ato Bautista
• Boatman, Tikoy Aguiluz
• Bridal Shower, Jeffrey Jeturian
• Caregiver, Chito S Roño
• The Criminal of Barrio Conception (Serafin Geronimo, Kriminal ng Baryo Concepcion), Lav Diaz
• Dekada '70, Chito S. Roño
• Gagamboy, Erik Matti
• Himala (The Miracle), Ishmael Bernal
• Midnight Passion (Init sa magdamag), Laurice Guillen
• Pelikula (A Documentary On Philippine Cinema: 1897-1960), Agustin Sotto
• Ploning, Dante Nico Garcia
• A Short Film About Indio Nacional (Maicling pelicula nañg ysañg Indio Nacional), Raya Martin
• Three Days of Darkness (Tatlong araw ng kadiliman]), Khavn De La Cruz
• Todo todo teros, John Torres
• Tuli, Auraeus Solito
• Will Your Heart Beat Faster? (Kakabakaba Ka Ba?), Mike de Leon
• Woman of Breakwater (Babae sa Breakwater), Mario O'Hara
• The Woven Stories of the Other (Huling Balyan ng Buhi), Sherad Anthony Sanchez
• You Are Weighed But Are Found Wanting (Tinimbang Ka Nguni’t Kulang), Lino Brocka
Batad (Batad, sa paang palay), Benji Garcia
• Big Time, Mario Cornejo
• Donsol, Adolfo Alix Jr
• Endo, Jade Francis Castro
• L'Éveil de Maximo Oliveros (Ang Pagdadalaga ni Maximo Oliveros), Auraeus Solito
• Kadin (The Goat), Adolfo Alix Jr
• Pepot Artista, Clodualdo Del Mundo Jr
• Pisay (Philippine Science), Auraeus Solito
• Tribu, Jim Libiran
• Programme courts métrages Cinemalayà (Cinemalaya Short Films Program)
Tribute to Joey Gosiengfiao
• Bomba Star, Joey Gosiengfiao
• Katorse, Joey Gosiengfiao
• Temptation Island, Joey Gosiengfiao
• Under-Age, Joey Gosiengfiao
Post by: oggsmoggs on Jul 08, 2008 at 12:37 AM
Post by: thegoodbyeguy on Jul 08, 2008 at 03:39 PM
On today's Philippine Star, Butch Francisco in his column listed 'THE MOST MALIGNED LOCAL MOVIES'. Movies mentioned were: VILMA AND THE BEEP BEEP MINICA, TUKLAW, WANAKOSEY, ALAGA, KOKAK, HUWAG MONG BUHAYIN ANG BANGKAY, NIGHTS OF SERAFINA, PINAY PIE, TEMPTATION ISLAND and THE PUNKS. And I thought ANAK NG DEMONYO would topple HUWAG MONG BUHAYIN ANG BANGKAY. Joel Torre undeniably told in an interview once that he despised making ANAK NG DEMONYO.
(http://i174.photobucket.com/albums/w81/thegoodbyeguy/PINOYDVD%20POSTS/KOKAK.jpg) (http://i174.photobucket.com/albums/w81/thegoodbyeguy/PINOYDVD%20POSTS/HUWAGMONGBUHAYINANGBANGKAY.jpg)
Photos courtesy of PhilippineCinemaVault
Post by: Noel_Vera on Jul 13, 2008 at 02:43 AM
Hellboy 2: The Golden Army (http://criticafterdark.blogspot.com/2008/07/hellboy-2-golden-army-guillermo-del.html)
Hancock, Wall.E (http://criticafterdark.blogspot.com/2008/07/hancock-peter-berg-2008-walle-andrew.html)
The Girl Who Leapt Through Walls (http://criticafterdark.blogspot.com/2008/07/toki-wo-kakeru-shjo-girl-who-leapt.html)
Ali: Fear Eats the Soul (Fassbinder) (http://criticafterdark.blogspot.com/2008/07/angst-essen-seele-auf-ali-fear-eats.html)
Martha (Fassbinder) (http://criticafterdark.blogspot.com/2008/07/martha-rainer-werner-fassbinder-1973.html)
Incredible Hulk (Leterrier) (http://criticafterdark.blogspot.com/2008/06/incredible-hulk-louis-leterrier-2008.html)
Forty Filipino films in Paris (http://criticafterdark.blogspot.com/2008/06/paris-cinema.html)
Post by: oggsmoggs on Jul 15, 2008 at 04:05 PM
Post by: oggsmoggs on Jul 17, 2008 at 06:34 PM
Post by: RMN on Jul 18, 2008 at 12:56 PM
Post by: oggsmoggs on Jul 18, 2008 at 06:46 PM
Post by: demented_ on Jul 19, 2008 at 05:43 PM
Maynila: Sa Mga Kuko ng Liwanag (Lino Brocka, 1975) (http://dementedguy.wordpress.com/2008/07/19/maynila-sa-mga-kuko-ng-liwanag-1975/)
Post by: demented_ on Jul 22, 2008 at 11:52 AM
Post by: oggsmoggs on Jul 22, 2008 at 11:29 PM
Post by: oggsmoggs on Jul 24, 2008 at 03:01 PM
Post by: Jncruz2000 on Jul 25, 2008 at 07:31 AM
http://www.rottentomatoes.com/m/further_reading_by_kim_newman/news/1743648/further_reading_dark_knight_is_unforgettable_but_who_remembers_james_batman (http://www.rottentomatoes.com/m/further_reading_by_kim_newman/news/1743648/further_reading_dark_knight_is_unforgettable_but_who_remembers_james_batman)
Post by: thegoodbyeguy on Jul 25, 2008 at 09:52 PM
Rottentomatoes has an article about Dolphy's movie: James Batman
http://www.rottentomatoes.com/m/further_reading_by_kim_newman/news/1743648/further_reading_dark_knight_is_unforgettable_but_who_remembers_james_batman (http://www.rottentomatoes.com/m/further_reading_by_kim_newman/news/1743648/further_reading_dark_knight_is_unforgettable_but_who_remembers_james_batman)
I had fun reading Newman's commentary on JAMES BATMAN. Thanks for the link Jncruz2000.
Post by: sosy_high on Jul 26, 2008 at 04:21 PM
-If Anita Linda doesn't win all the Best Actress trophies next year, THOSE LOCAL AWARD GIVING BODIES SHOULD STOP GIVING AWARDS.
nuff said.
Post by: oggsmoggs on Jul 27, 2008 at 12:25 PM
Post by: sosy_high on Jul 27, 2008 at 05:31 PM
----
I'm glad that Eugene Domingo is getting some recognition. She was superb in Pisay ;)
Post by: oggsmoggs on Jul 27, 2008 at 06:27 PM
Kuya Oggs, how was Mylene Dizon's performance in that movie? Is she better than Anita Linda?
----
I'm glad that Eugene Domingo is getting some recognition. She was superb in Pisay ;)
Mylene Dizon is good and she photographs well, but Linda is definitely the better actress. Eugine Domingo is great, but I thought Tessie Tomas gave the better supporting performance.
Post by: oggsmoggs on Jul 30, 2008 at 11:17 AM
Post by: demented_ on Aug 01, 2008 at 07:29 PM
Post by: thegoodbyeguy on Aug 03, 2008 at 01:28 AM
Seen previews of Vic's and Dolphy's DOBOL TROBOL and I don't find it funny at all. Both actors look tired. Hopefully, the movie is way better than its trailer. :(
(http://i174.photobucket.com/albums/w81/thegoodbyeguy/PINOYDVD%20POSTS/dolphyvic.jpg)
Post by: demented_ on Aug 03, 2008 at 08:21 PM
Post by: X44 on Aug 04, 2008 at 12:14 AM
Post by: demented_ on Aug 05, 2008 at 03:51 PM
Post by: rse on Aug 05, 2008 at 05:43 PM
I am not really exposed to a lot of non classical films. Perfumed Nightmare is one of a handful that I’ve seen. Actually this is only the second full feature that I’ve seen so far. The first was Indio Nacional.
So what do I think of this movie? It’s crude, clumsy, and amateurish yet you admire it for these qualities. And like what I expect for a non-classical film, it’s full of symbolisms.
One thing that bothered me though was that when he was abroad, he stayed mostly in Paris. It would have worked better if he went straight to NYC. I’m assuming that the grant came from France, and that he was invited to come, took advantage of the visit and shoot some portions of the film there.
Post by: sosy_high on Aug 07, 2008 at 12:43 AM
1. Pisay (2007)
2. Kubrador (2006)
3. Tuhog (2002)
4. Endo (2007)
5. Hesus rebolusyonaryo (2002)
6. Kasal, Kasali, Kasalo (2006)
7. Pepot Artista (2005)
8. Ang Pagdadalaga ni Maximo Oliveros (2005)
9. Milan (2003)
10. Anak (2000)
Post by: rse on Aug 07, 2008 at 02:50 AM
Post by: oggsmoggs on Aug 07, 2008 at 05:19 PM
Post by: thegoodbyeguy on Aug 08, 2008 at 02:15 AM
My Top 10 Filipino Films of the Decade:
1. Pisay (2007)
2. Kubrador (2006)
3. Tuhog (2002)
4. Endo (2007)
5. Hesus rebolusyonaryo (2002)
6. Kasal, Kasali, Kasalo (2006)
7. Pepot Artista (2005)
8. Ang Pagdadalaga ni Maximo Oliveros (2005)
9. Milan (2003)
10. Anak (2000)
Interesting choices sosy_high. :)
Post by: thegoodbyeguy on Aug 08, 2008 at 02:17 AM
and the love scenes are quite good, even with very limited nudity.
Yes, still very sexy even with clothes on!
Post by: sosy_high on Aug 08, 2008 at 08:11 PM
Interesting choices sosy_high. :)
I haven't seen many films that considered "great" this decade eh like Batang West Side, Ebulusyon etc.
Post by: oggsmoggs on Aug 17, 2008 at 02:58 PM
Post by: oggsmoggs on Aug 31, 2008 at 08:10 PM
Post by: Noel_Vera on Sep 01, 2008 at 11:26 AM
Battle Royale 1 & 2, PTU, Triad Elections (http://criticafterdark.blogspot.com/2008/08/battle-royale-battle-royale-2-ptu-triad.html)
Babae sa Bubungang Lata (Woman on a Tin Roof, Mario O'Hara, 1998) (http://criticafterdark.blogspot.com/2008/08/babae-sa-bubungang-lata-woman-on-tin.html)
Star Wars: The Clone Wars (Dave Filoni, 2008) (http://criticafterdark.blogspot.com/2008/08/star-wars-clone-wars-dave-filoni-2008.html)
Post by: oggsmoggs on Sep 04, 2008 at 04:21 PM
Post by: indie boi on Sep 04, 2008 at 08:09 PM
Genghis Khan (Manuel Conde & Lou Salvador, 1950) (http://oggsmoggs.blogspot.com/2008/08/genghis-khan-1950.html)Dang, you're lucky dude. I've always wanted to watch Genghis.
Post by: keating on Sep 07, 2008 at 10:22 AM
By Ruben V. Nepales
Philippine Daily Inquirer
First Posted 21:23:00 09/06/2008
Toronto fest exec hails RP movies
As the Venice Film Festival winds down, the mass migration from the Lido to Toronto, which has become an annual tradition among many Hollywood folks, is in full swing.
After opening the Venice fest, George Clooney, Brad Pitt and their film “Burn After Reading” have moved on to the Toronto International Film Festival (TIFF) where their comedy is also a main attraction. Joel and Ethan Coen, switching gears after their grim “No Country For Old Men” won the Oscar Best Picture (and a Best Director trophy as well) early this year, return to comedy with a tale about idiots in Washington, DC.
George, who worked with the Coen brothers in two earlier films, “Intolerable Cruelty” and “O Brother, Where Art Thou?,” said: “Joel and Ethan call it my trilogy of idiots. It’s the third of the idiots that I’ve played with them. The only thing that made me feel better was that Brad Pitt is as stupid as I am in this one ... ”
Screening ‘Bayan Ko’
When Lino Brocka’s “Bayan Ko: Kapit sa Patalim” is shown here on Tuesday, Sept. 9, 9:30 p.m. at the Jackman Hall as part of “Dialogues: Talking with Pictures” section, it is in observance of the 10th death anniversary of David Overbey, credited as one of the first writers and festival programmers to champion Philippine cinema. Journalist Joan Dupont, whose 1981 interview with Lino in Manila for Le Monde was arranged by David, will present the film which stars Phillip Salvador, Gina Alajar, Paquito Diaz and Claudia Zobel.
We learned about the interesting way in which David first saw a Filipino film, Lino’s masterpiece, “Insiang,” and how he eventually met the late great director, as recounted in a 1996 article by Eric Cabahug for the Manila Times’ Sunday Times Magazine.
Discovering ‘Insiang’
Eric wrote: “It was one particularly sunny day in 1978 when the ‘accident’ happened and the ‘discovery’ was made. At a small-scale international film festival in a Canadian suburb, David was invited to a screening of a French film in a building which had a dozen identical audio-visual rooms. Without looking hard at the number posted on the door, he crept into one room, plopped himself down a seat, and waited for the screening to begin. Soon enough, the lights were put out and the film began playing. Then, reading the film’s opening credits, he realized that he was in the wrong room.
“He had read nothing that was in French and the film’s title was not what he had expected to see splashed on that particular screen. It was a foreign name in some alien language. ‘Insiang.’ And credited as director was Lino Brocka, somebody he had never heard before.
“Since the film had already begun, David decided he’d stay awhile and see what this Brocka guy and his ‘Insiang’ had to offer. To his delighted surprise, he found himself hooked right away. Then he decided to continue watching. ‘The hell with the other film; this is pretty good,’ David recalls saying in his mind as he was drawn deeper and moved by the ‘powerful, wonderful’ Filipino domestic drama.
Meeting Brocka
“…That initial contact with Filipino cinema would not be followed until a year later when, en route to Australia for a writing job, David’s plane stopped over in Manila … ‘Insiang. Lino Brocka,’ he recalls thinking. Immediately he told a flight attendant he’s getting off and instructed her to take his luggage off the plane. What happened next was something straight out of a movie: David got off the plane, looked up Lino’s name in the phone book, called him, told him vaguely who he was, that he had seen ‘Insiang,’ that he was ‘most impressed,’ and that he wanted to see him. Brocka came to pick him up at the Manila International Airport, took him to his house where he stayed for two weeks — ‘as I did year after year,’ he offers — and introduced him to the denizens of movielandia.” In becoming familiar with folks from Nora Aunor, Rosanna Roces to then censors chief Manuel Morato, David also got to know the shenanigans in local show biz.
Eric, whom we contacted via e-mail about his article, said about David, “For a foreigner, he knew a lot about Philippine cinema ...
“I remember him as a big, imposing man,” Eric said of his impression of David, who fell in love with the Philippines and kept coming back for a period that covered almost two decades...” David confessed to Eric that “Biyaya,” Rosa Rosal’s 1950s melodrama, never failed to make him cry. He considered this classic tearjerker one of the best Filipino films along with the likes of Ishmael Bernal’s “Himala,” Brocka’s “Bona,” “Jaguar” and “Bayan Ko…”
Eric informed us that he himself has become a screenwriter — his first script, “Dayo,” has been turned into what he described as “the first all-digital Filipino animated film” and is an entry in the Metro Manila Film Festival come December.
‘Uncompromising’
Here’s what David wrote in 1985 about the film that will be screened in Toronto in his honor: “‘Bayan Ko: My Own Country’ was the well-deserved recipient of last year’s prestigious British Film Institute Award for most outstanding film, and it is not difficult to see why: The film is uncompromising in its vision of present-day Filipino society. Set against the backdrop of Benigno Aquino’s assassination, ‘Bayan Ko’ tells its story of a young printer (Salvador) whose life is a series of rapidly diminishing options. His pregnant wife needs expensive medicine and, because of this and the strike at his factory, Turing is eventually lured into a life of crime by a small-time hood. Widely acclaimed as the Filipino Man of Irony, Brocka’s film also manages to suggest how, given a different social and economic system, Turing’s fate might have been altered.”
David died of heart attack on Dec. 16, 1998.
We asked Noah Cowan (former co-director of the TIFF and now the artistic director of Bell Lightbox, the future home of the festival), who was responsible for creating the Vanguard programme, where Dante Mendoza’s controversial “Serbis” is an official selection, for his opinion on whether “Bayan Ko” has stayed relevant, 24 years after it was made by Lino.
He replied, “‘Bayan Ko’ is, unfortunately, as relevant today as it was then. Oppression, poverty and the will to overcome misery are still daily realities all over the world. As our planet becomes richer, more and more people are left behind to fend for themselves and yet there is little collective action. ‘Bayan Ko’ reminds us how much stronger we are as a global civilization if we think and act together.”
When we pressed Noah to share some of the interesting tidbits that perhaps Joan Dupont has shared with him about interviewing Brocka in Manila, he answered, “Joan is keeping her cards close to her chest. I can’t wait to hear all about it.”
Noah said of David, “He loved the Filipino people and engaged with the country in various political and personal ways. He had always intended on living out his last days there and insisted that his ashes be spread on the beaches of Cebu when he died (which they were — you never contradicted David).
“Regarding Filipino cinema in particular, David (and his successors) saw the Philippines as one of the few places that was invigorating and reinterpreting the social realist European cinemas of the post-World War II period. Through the judicious infusion of melodrama and a belief in exploring the specific cultural realities of the country, Filipino filmmakers continue to make a compelling, audience-friendly yet artistically meaningful contribution to world cinema.
Champion of RP cinema
“David was also delighted that the Philippines led the world courageously in the frank exploration of homosexuality in the non-Western world. The aesthetics and themes of films like ‘Macho Dancer’ have been well-copied in the surrounding region and further afield ever since.
On how TIFF has kept David’s legacy in championing Philippine cinema, Noah sounded enthusiastic: “The Philippines continues to inspire us to devote more programming resources to the region. This year, we announced the hiring of Raymond Phanathavirangoon to supervise our programming there. He is a champion of Filipino cinema and is partially responsible for bringing ‘Serbis,’ the new film of Brillante Mendoza, to the competition of the Cannes Film Festival this past May and to us for its North American premiere. Our commitment to emerging talent from the country continues and is this year embodied by ‘Adela’ by Adolfo Alix Jr.
“We are also inspired by the Filipino audience, both here and in the Philippines. When people are pressed for choice between video games, TV and other forms of visual culture, Filipinos continue to be great supporters of the cinema experience, a belief that culture is to be shared as a community engaged in meaningful discourse around a work of art. That is Lino Brocka’s — and David Overbey’s — legacy to us and we take it very seriously.”
Post by: allanmandy on Sep 07, 2008 at 11:36 AM
By Ruben V. Nepales
Philippine Daily Inquirer
First Posted 10:29:00 09/07/2008
MANILA, Philippines -- The Philippines' "Melancholia" directed by Lav Diaz won the Orizzonti prize for feature film in the Venice Film Festival.
Last year, Diaz won the Special Mention in the Orizzonti for his documentary "Encantos."
"Melancholia" according to Diaz is an 8-plus hour meditation on love, life and suffering.
It was shot in various locations around the Philippine countryside.
source (http://showbizandstyle.inquirer.net/breakingnews/breakingnews/view/20080907-159204/Lav-Diazs-Melancholia-wins-prize-at-Venice-festival)
Post by: rse on Sep 11, 2008 at 02:07 AM
Post by: keating on Sep 14, 2008 at 01:02 PM
Post by: oggsmoggs on Sep 14, 2008 at 07:07 PM
Post by: oggsmoggs on Sep 16, 2008 at 05:38 PM
Post by: rse on Sep 17, 2008 at 12:58 AM
Kuh Ledesma's character in ORO was longer in the 5-hour cut but it was left already in the cutting floor. She would appear to signal a bad omen and impending doom.
Yep I get what she's supposed to signal, I just feel that the character doesn't fit the style of the rest of the movie, which is presented in a very realistic fashion.
Post by: keating on Sep 18, 2008 at 08:38 AM
sineKlasiks: Ang Mga Natatanging Pelikula ni Rosa Rosal.
Featuring Anak Dalita (directed by Lamberto V. Avellana, 1956), Badjao (directed by Lamberto Avellana, 1957), Biyaya ng Lupa (directed by Manuel Silos, 1959).
September 17-23, 2008, indieSine, Robinsons Galleria.
The opening night (Sept17, Wednesday) will have cocktails at 6pm to be followed by the screening of Anak Dalita.
Post by: oggsmoggs on Sep 22, 2008 at 05:50 PM
Post by: northern portrait on Sep 22, 2008 at 05:57 PM
Batang West Side (West Side Avenue, Lav Diaz, 2001) (http://oggsmoggs.blogspot.com/2008/09/batang-west-side-2001.html)
Nice! I have to defer reading it though until I've seen the film. Saan mo napanuud? Bootleg copies of Lav Diaz's films (i.e. Heremias, Death in the Land of Encantos) are starting to surface on the web.
Post by: Noel_Vera on Sep 23, 2008 at 12:22 PM
Post by: oggsmoggs on Sep 23, 2008 at 12:39 PM
Post by: northern portrait on Sep 23, 2008 at 12:51 PM
Really? Pity. The guy's starving enough as it is. Maybe bootleg downloaders should donate to him some amount, out of gratitude (maybe Lav should put up a paypal account--?).
The Heremias bootleg is a suspiciously decent rip: it looks like a leak from someone in Diaz's circle, one who has access to his editing computer (the film is prefaced by a still generated in Final Cut Pro and it is divided very neatly into one-hour increments.)
The Death in the Land of Encantos bootleg is a capture of an Italian tv program (Fuori Orario ). This one is currently being spread on emule.
I agree, Lav should be remunerated. The paypal account is a good idea, someone should bring it up with him.
Post by: X44 on Sep 23, 2008 at 02:25 PM
Post by: Noel_Vera on Sep 26, 2008 at 12:23 PM
Or stealing my articles and passing them as your own. ;D
Post by: sinehansakanto on Sep 26, 2008 at 10:58 PM
He makes movies to express artistry and not to make money. The bootleggers are circulating his movies but not claiming authorship. A moral limbo ensues.
Post by: Noel_Vera on Sep 27, 2008 at 07:58 AM
That Paypal idea might actually be good. If the pirates can't be bothered--but hey, if someone can contact them, ask them how much they're making off of it ("hey you know you're actually losing money selling this?"), either they might be embarassed into ponying up or startled into realizing that they're not profiting. Whatever.
Post by: keating on Sep 27, 2008 at 10:39 AM
Maybe I was just too tired that's why I'm having a hard time finishing it. The milieu is perfect and flawless.
Post by: Noel_Vera on Sep 28, 2008 at 01:17 AM
Post by: ciconneguy on Sep 28, 2008 at 05:15 AM
Saw this Boyet-Vilma starrer with Anthony Costello, Subas Herrero, and--was that him?--Christian Espiritu among others. Anyone the title and the director?
pakawalan mo ako. tama ba?
Post by: oggsmoggs on Sep 28, 2008 at 10:24 AM
Post by: keating on Sep 28, 2008 at 01:18 PM
In the opening scene before Albert Martinez jumped into the real world, we are introduced to the world of seminarians and priests, Martinez soon to be a priest abandoned that world and jumped into the real or what we call the sinful world. Movies of Gosiengfiao have always been undervalued, no matter how you laugh or ridicule his characters, they remained unpretentious, sometimes real and serious.
Here he takes a stab at two serious social issues, rape and murder. Along the way, Albert will meet the mother and daughter team of Charito Solis and Kristine Garcia in a private mansion where sluts roam around owned by Rosemarie Gil as Madam Lotus, think of her as Madam Heidi Fleiss of the 80's. Naturally the two meet during the raid and they hitched in the car of Albert's cousin, Dennis Roldan. To conceal more of the plot will spoil this film. Gosiengfiao's trademark for camp and wicked humor are still here, check out the hilarious death scene of the late Charito Solis, the visual feast where the two lead characters fight at the duck farm, the court room scenes are all added to indulge the viewer on the camp master's world where an ex-seminarian and a stripper can fall in love.
Post by: Noel_Vera on Sep 28, 2008 at 02:21 PM
a private mansion where sluts roam around
I think I've been to that place already, only it was in Daet.
Post by: keating on Sep 28, 2008 at 02:29 PM
Probably not. I found Nunal pretentious, incoherent, trippy. That said, it's miles better than the Marilou remake.
It was written by Bernal's soulmate.....Jorge Arago. Much better than their second collaboration SUGAT SA UGAT. Yes, its kinda trippy but definitely better than Abaya's SA PUSOD NG DAGAT.
Post by: oggsmoggs on Sep 29, 2008 at 11:07 PM
Post by: ciconneguy on Sep 30, 2008 at 01:30 AM
Post by: sosy_high on Oct 01, 2008 at 10:53 PM
Anyone here seen this? The acting was good and the ending was intense as hell! I will never forget that ending. ever.
8/10
PS: The theme song of this movie was fantastic
Post by: oggsmoggs on Oct 01, 2008 at 11:24 PM
hi oggs! musta na? :)
Mabuti naman...
Post by: keating on Oct 05, 2008 at 12:12 PM
Easy does it for Mel Chionglo
By Ronald Mangubat
Inquirer
MANILA, Philippines -- Movie insiders agree that Mel Chionglo is one of local cinema’s smartest storytellers. The amiable director of such films as “Lagarista,” “Lahar,” “Xerex,” and “Twilight Dancers,” gets along well with his cast and crew, never shouts, and is very approachable.
Chionglo, who started directing in the early ’80s, describes himself as lenient. “I’m not strict, although I also get mad,” he admits. “But I don’t shout.”
His cool working style has earned him the respect and friendship of his colleagues in the business.
For instance, Maricel Soriano, who worked with Chionglo for seven years in “The Maricel Drama Special,” and screenwriter Ricky Lee, who collaborated with him on his “Macho Dancers” trilogy,” regard the mild-mannered, Ateneo-schooled filmmaker as a close friend.
Friend and classmate
Chionglo started working in films in 1976 when friend and classmate Mike de Leon asked him to be his production designer for his directorial debut, “Itim.” Two years later, Lino Brocka tapped him to write a screenplay for Charito Solis and Lolita Rodriguez, who were then co-starring in Nick Joaquin’s “Larawan,” which was also directed by Brocka. That movie, “Ina, Kapatid, Anak,” opened more doors for Chionglo.
It was Regal’s Mother Lily Monteverde who gave Chionglo his directorial break—“Playgirl,” a domestic drama starring Gina Alajar. The movie wasn’t a hit, but the Regal matriarch didn’t lose faith in Chionglo. She asked him to meg youth-oriented movies starring her coterie of Regal Babies.
Looking back, Chionglo says he started to mature as a filmmaker in “Lucia,” a film produced by the BBC starring Gina Alajar and Lolita Rodriguez. “Among my 40-plus films, that was the least compromised. I’d like to do something like that again. Yun ang maganda sa trabahong ito, hindi ka tumatanda!” Excerpts from our interview:
Among your films, which ones were longest and shortest to make?
The longest was “Dyesebel,” which took two years to make! The shortest was “Twilight Dancers,” which was made in 11 days.
Trilogy
What’s the story behind the “Macho Dancers” trilogy?
In 1994, we toyed around with the idea of doing something for the film fest circuit. Our contact abroad said Filipino films weren’t being shown at international film festivals since Brocka’s “Macho Dancer” became a hit in Toronto. So, we thought of doing “Sibak,” followed by “Burlesk King” and “Twilight Dancers.”
Of the three, “Twilight” got bad reviews. Any reaction?
Ganun talaga. I used to write movie reviews myself, so I know where the critics are coming from. Sometimes, you get good reviews; sometimes, you get bad ones. Doubled-edged kasi ang mga ganyang pelikula. It’s a guilty pleasure. People want to watch it, but they feel guilty about watching it. But, in terms of DVD sales, tumatabo ang “Twilight.”
How was “Twilight Dancers” received in Toronto?
You’d be surprised! The reaction was very positive. It was novel to them, although when I asked around, people said they also have films about their own macho dancers.
Revisions
Do you demand constant script revisions?
In my collaborations with Ricky Lee, by the time we get to the first draft, we have already discussed every detail lengthily.
Whom do you admire among the current young filmmakers?
I love the films of Lav Diaz. I like Dante Mendoza, Ato Bautista, and Nes de Guzman. Marami pa sila.
Brocka or Bernal?
Both of them were my friends! Magkaiba sila. Lino loved rising dramatic action. Bernal was very contemplative. I’d like to have the sensibilities of both, especially the way they translated their politics into film.
Do you have a dream project?
Yes. Ricky Lee has a script that has never been filmed. It’s based on Rizal’s “Noli Me Tangere” and follows the thread of the lovers—Elias and Salome, Maria Clara and Crisostomo Ibarra, and Sisa and her husband. Ang ganda ng pagkasulat! Bagay sa young stars natin.
Advice
Any advice to new filmmakers?
They should ask themselves: Is this a one-time thing, or is this what I want to do for the rest of my life? Am I doing this for self expression, or do I want to touch a wider audience?
How do you describe your filmmaking style?
A member of my staff described it to me: He said if Lino Brocka liked a rising dramatic action, ako naman daw, plateau -- pero pumuputok-putok! Come to think of it, he’s right! (Laughs)
Post by: keating on Oct 05, 2008 at 12:25 PM
By Bayani San Diego Jr.
Philippine Daily Inquirer
PARIS—The cocktail party held in honor of the Philippine delegation at the Paris Cinema International Film Festival was held at La Monnaie hotel near the Notre Dame Cathedral on Friday night.
Described as “elegant and historic,” La Monnaie, according to Lali Suzara, Film Development Council of the Philippines (FDCP) executive director, is one of the hardest to book in all of France. “We were told it could take months,” Suzara said. “Monnaie literally means money.”
Two of the country’s most bankable stars—Sharon Cuneta and Judy Ann Santos—were the main attractions at the Philippine reception. Judai’s fiancé, Ryan Agoncillo, was also present. Needless to say, the trio kept snapshot hunters and other Pinoy fans busy.
Other homegrown celebrities at La Monnaie were: Boots Anson-Roa, Fanny Serrano, Chito Roño, Mark Meily, Olive Lamasan, Malou Santos, Imee Marcos, Bessie Badilla, plus the young independent filmmakers invited to the “Paris Project.”
Welcome remarks were delivered by the heads of the different agencies—Nes Jardin of the Cultural Center of the Philippines; Jacky Atienza of FDCP; Amb. Jose A. Zaide of the Philippine embassy in France—that made the Philippine participation in the French fest possible.
Later that evening, the gala screening of Roño’s “Caregiver” was held at the posh MK2 Bibliotheque cinema. The 650-capacity theater was packed with Filipinos—some coming from as far as Brussels, Belgium.
The French organizers, led by festival director Aude Hesbert and programming consultant Jeremy Segay, were “overwhelmed’ by the turnout, said Suzara.
Camera-toting fans snapped pics of the stars in their ternos—Sharon’s by Fanny Serrano; Judai’s by Paul Cabral and Boots’ by Eddie Baddeo.
“Initially, there was only one security man for Sharon, Judai and Ryan,” Susara said. “Fortunately, they sent more. We heard that a French actress attended the screening of her film the other night but wasn’t mobbed. Jeremy said he hadn’t witnessed anything like this in the festival’s six-year history.”
Retrospective
While the “Caregiver” screening was filled with Pinoys, the screening of Joey Gosiengfiao’s cult classic “Temptation Island” was packed with foreigners that same night, in a smaller cinema at the MK2.
A retrospective of other films (“Katorse,” “Bomba Star” and “Underage”) by Gosiengfiao is being held at the festival. Regal’s Lily Monteverde, producer of the Gosiengfiao films, attended the “Temptation” screening—punctuated with hearty laughter and capped with spontaneous ovation
from the predominantly foreign audience.
Viewers from Romania and Italy congratulated Mother Lily. The Romanian cineastes asked her, “Where are the stars of ‘Tempation’ now? Are all your films this crazy?”
Post by: oggsmoggs on Oct 10, 2008 at 10:43 PM
Post by: keating on Oct 12, 2008 at 10:18 AM
By Eric S. Caruncho
Philippine Daily Inquirer
First Posted 01:47:00 10/12/2008
MANILA, Philippines - When jazz genius Miles Davis asked his saxophone player John Coltrane why his solos were so long, Coltrane is said to have replied:
“Because it took that long to get it all in.”
Lav Diaz might say the same about his films, although in truth the multi-awarded filmmaker is sick and tired of being asked the same question.
Although his films have reaped prestigious international prizes and sent cinephile critics swooning with their uncompromising vision, back home, where Lav Diaz screenings are few and far between, they are better known for their running times than for their subject matter.
His breakthrough film “Batang West Side” (2002) ran a then-unprecedented five hours. Diaz topped this with the epic “Ebolusyon ng Isang Pamilyang Pilipino” (2004) which ran over 10 hours. His next films “Heremias” (2006) and “Death in the Land of Encantos” (2007) clocked in at over nine and ten hours respectively. His latest film, “Melancholia,” which recently won the grand prize in the Orizzonte section of this year’s Venice Film Festival, runs a relatively brisk eight hours, although it might seem a lot longer because of its downbeat subject matter. According to the director, the film is about the deep sadness at the core of the Filipino experience.
These works are not exactly aimed at the YouTube and MTV generation, whose attention span is measured by the length of the average buzz clip. It’s as if Diaz is telling his audience: I’ve suffered for my art—now it’s your turn.
“When people ask me why my films are so long, when I’m in a bad mood I usually just say ‘next question please,’” he says. “When I want to be courteous, I say ‘If you don’t have time, this is not the film for you. But if you value life, if you want to see other perspectives, then immerse yourself in these films.’ You need time to experience cinema and to see life. You have to elevate cinema to the level of poetry and philosophy to realize that it should have no limits.”
In other words, it took that long to get it all in.
Indeed, if there’s any envelope-pushing to be done, then Lav’s your man. A post-modern renaissance man, not even a ten-hour film can contain his creative juices, which spill over into poems and short stories and even songs.
In fact Diaz has just released his first solo album, “Impiyerno: Songs From and Inspired By The Films of Lav Diaz” at the recent .MOV Third International Digital Film Festival.
“It should come with an advisory,” he jokes about the album, which was produced by fellow digital film provocateur Khavn de la Cruz. “If you want to kill your neighbor, play this Lav Diaz album. If you want to catch janitor fish in the Marikina river—Lav Diaz album.”
Actually, he’s only half-joking.
“Impiyerno” is a companion piece to “Melancholia.” Recorded in one four-hour session, mostly in single takes with Diaz accompanying himself on acoustic guitar, the ten death dirges on “Impiyerno” make your average Goth band sound like the Monkees. Played often enough at sufficient volume, it could conceivably drive your next-door neighbor to suicide.
“‘Impiyerno’ is about sadness. It is about the sadness of man’s existence. Quoting one of the characters in my film ‘Melancholia’: ‘Why is there so much sadness and so much madness in this world? Is happiness just a concept? Is living just a process to measure man’s pain? There is no cure to sadness.’ That’s the truth.”
Its lo-fi aesthetic aside, “Impiyerno” is of a piece with Nick Drake’s “Pink Moon,” Neil Young’s “Tonight’s The Night,” anything by the Red House Painters and similar testaments to doom and gloom—music to slash your wrists by.
“Khavn was after me for a long time to record my songs,” says Diaz. “He just sat me in front of a microphone and it was done. It was a moment. Okay lang, ibang angulo naman.”
Most of the songs in “Impiyerno” were written in the last three years, save for “Ina ng Nawawala,” which he wrote on the day Lean Alejandro was killed in 1987.
“Lean became a friend briefly,” he recalls. “I wanted to do a documentary on him.”
Instead, his testament to Alejandro is this song, which foreshadows his preoccupation with the desaparecidos, a recurring theme in his works.
Actually, recording an album isn’t much of a stretch for Diaz. Before he became a filmmaker, his dream was to become a musician.
“I had a band in college in Cotabato,” says Diaz, who was born in 1958 in Datu Paglas, Maguindanao. “There were many bands in Cotabato then (during the late 1970s) because Asin was based there. Saro (Bañares of Asin) was a friend: he lived in Marbel, we lived in Tacurong.”
The nascent Cotabato music scene embraced folk, rock, and eventually punk and Diaz, who was already composing songs by then—in English, Pilipino, Ilonggo and Maguindanao—formed a group called Cotabato. The band played local gigs, for which each member was paid P25 a night, along with a free burger and beer. Their goal was to make it to the rough and tumble Mecca of Pinoy rock, Olongapo City. The game plan was to immerse themselves in the ’Gapo club scene, get good and become the next Juan de la Cruz Band.
“I was going to finish Economics to please my parents, and then go to the UP College of Music,” he recalls. “But in third year college, I got married and my bandmates became preoccupied with girls.”
One night after a gig, Diaz came home with his usual P25 and got into a fight with his wife. It ended with him smashing his fake Gibson guitar to pieces, and that was the end of his musical dreams—for the time being anyway.
“Of course I regretted it the next morning, but it was too late,” he recalls. “I lost interest in the band. I had a child, got a job. I got interested in literature, and then cinema. But I never stopped writing songs and poems. I can’t stop writing songs and poems—they’re the easiest for me to write.”
Diaz counts among his influences the classic triumvirate of the Beatles, the Stones and Bob Dylan, but adds that he also listens to Yoyoy Villame and anything Filipino.
“The creative process is the same in music and in cinema,” he says. “You have a muse, you seek inspiration… My songs and films are the same—very personal. I consider all my works as one work. If you piece them together, it’s one work composed of different stories. It’s the same with my music—they’re moments, the expression of one man.”
For a while Diaz found an outlet in literature. He wrote poems and short stories, eventually winning the Palanca Award. But in the early 1980s, he caught the cinema bug. When he decided that he was going to be a filmmaker, he moved his family from Cotabato to Manila—enrolling in first year Law at the University of the East as a sop to his parents. He began attending film workshops at Mowelfund—then the only avenue for aspiring filmmakers. It was 1983, the year of the Aquino assassination.
“Those were different times,” he recalls. “We were living on Basilio St. in España. There was no digital video then. There were 40 of us in Mowelfund fighting over the one 16mm camera. There were seven 8mm cameras but no film. If you were rich you could buy film but a roll of 16mm film was 80 dollars. It was a dead end.”
To make ends meet, Diaz became a journalist for a time, writing features for Joe Burgos’ Masa and working at the desk of Taliba.
When an opportunity to go to New York came, Diaz grabbed it. He lived the life of a struggling filmmaker while holding down a day job as a journalist for a community newspaper. It was a fertile period that resulted in several films, including what many consider to be his artistic breakthrough, “Batang West Side”.
The critical success of “Batang West Side.” allowed Diaz to return to the Philippines to make films here, but despite the lavish praise heaped upon him by (mostly foreign) critics who consider him the rightful heir to Brocka and Bernal (mainly because of the social and political themes in his films), filmmaking continues to be a struggle—eased somewhat by the advent of digital video.
“Digital is so liberating,” Diaz says. “You can work with this process without fear or limitations, the same with a pen or a brush. You’re free—no producer or studio to tell you ‘hey, you can only shoot five rolls today’ or ‘our film should only be two hours long.’ Those are gone. The process is the same as painting or writing a song. Cinema is liberated with digital, you don’t have to deal with middlemen and businessmen talking about marketing and obscuring the vision of art. Cinema used to be so feudal with all these executives trying to put their hands on your work and at the end of the process you’ve sold your soul to Mother Lily and Vic del Rosario.”
Shooting and editing with digital video has also allowed Diaz to evolve an organic way of filmmaking in which the film evolves and grows from day to day. His Venice Film Festival winner “Melancholia,” for instance, had its beginnings as an entirely different movie about a xenophobic cult.
“The night before we were to leave for Sagada for the shoot, I lost interest in that film,” he recalls. “So when we got there, I started with a blank page.”
Slowly “Melancholia” took shape.
“My experience whenever I go to Sagada is melancholia, deep sadness,” he says. “At the same time, the place calms you and invites contemplation. Happiness is just a concept. The truth is, life is sad, and our everyday struggle is how to get out of this thing, this sadness, this melancholia.”
Diaz would write the script for the next day’s shoot every night. He would discuss the scenes with his actors the next morning over breakfast; they would rehearse and shoot. The film evolved this way over the next two months, taking the crew from Sagada to Laguna and finally Manila.
“They told me I had a slot in the main competition in Venice if I could keep it under four hours. During the shoot, I e-mailed them and told them it was going to run longer than four hours—I couldn’t compromise my aesthetic vision just to be able to join the main competition.”
The resulting film, “Melancholia,” ended up in the Orizzonti section of the festival devoted to art films with no time limit, winning the grand prize. It is scheduled to have its Philippine premiere at the coming Cinemanila Film Festival.
But who’s going to watch it? Won’t the average Filipino audience—weaned on Hollywood special effects and local fluff—stay away in droves?
“To destroy that wall created by the system, you have to alienate them at first, then they will return,” says Diaz. “It’s a long slow struggle. Reeducation isn’t an easy process. You have to recondition their minds that cinema is broader than just fast cuts and color and a lot of adornment.”
“For me, the issue is: if you’re an artist, with the state the country is in you only have one choice—to help culture grow in this country,” he continues. “There’s no time for ego, you have to struggle to help this country. Make serious films that even if only five people watch it, it will change their perspective. You may make big box office but what do the people get out of it? Kinikilig lang sila kay KC Concepcion at Richard Gutierrez. Escapist films only breed ignorance. And we need to destroy that culture of ignorance.”
Post by: indie boi on Oct 12, 2008 at 10:46 AM
Quote
Escapist films only breed ignorance. And we need to destroy that culture of ignorance.
No truer words have been said.
Post by: keating on Oct 12, 2008 at 10:52 AM
But I still want the man to go back in making 2 hour plus film that's full of his vision and not losing his soul.
Post by: Noel_Vera on Oct 12, 2008 at 01:50 PM
Check out Hesus Rebolusyunaryo for a film under two hours. Surprise surprise, it doesn't feel all that diferent...
Post by: keating on Oct 13, 2008 at 10:08 PM
HESUS REBOLUSYONARYO has been OOP on vcd and not yet release on dvd. I wonder if Lav has already smoke the peace pipe with Mother regarding HESUS REBOLUSYONARYO.
Post by: jdv1229 on Oct 14, 2008 at 06:45 AM
Post by: RMN on Oct 14, 2008 at 01:24 PM
Agree with BATANG WEST SIDE. My personal fave of all his films.
Finally, you've seen BWS! Congrats. Hehe. ;D
Post by: keating on Oct 14, 2008 at 06:30 PM
I saw Serbis last night at the New York Film Festival. It's the most repulsive piece of trash I've ever seen. What a waste of talent!
Aside from the superb technical aspects, except perhaps for the bad sound everything was trash. Pure wasted was the talent of Jaclyn Jose. Only saving grace was the dignified character of Gina Pareno. Gina was agonizing and amazing on that ticket booth scene.
Post by: oggsmoggs on Oct 14, 2008 at 07:05 PM
Post by: jdv1229 on Oct 15, 2008 at 06:07 AM
Post by: Qoheleth on Oct 15, 2008 at 07:44 AM
Watch the Director's Cut of SERBIS at UP Cine Adarna (Diliman). It screens most weekdays and Saturdays at 2pm, 5pm and 7pm.
It is not trash. It is one of the best Pinoy films I've seen so far this year.
Post by: keating on Oct 15, 2008 at 06:54 PM
trashy films are the ones made by Cloyd Robinson in the 80's like Tambay Sa Disco, Rizza Jones Showgirl, Wild Animals or Pick-Up Girls. Serbis makes these films seem a lot better.
At least those that you mentioned Jo have camp value. A bad or a trash film can be good crap when it turns out to be on the camp league.
SERBIS doesn't even have a camp value.
Post by: oggsmoggs on Oct 15, 2008 at 09:24 PM
Jojo, I'll be in NY on the 28th to Nov 20, any tips on where to go?
Post by: Noel_Vera on Oct 16, 2008 at 11:24 AM
Post by: oggsmoggs on Oct 16, 2008 at 03:08 PM
Post by: sosy_high on Oct 16, 2008 at 05:23 PM
PS: The nomination of his short film, "Nang matapos ang Ulan" in Gawad Urian is a joke if you ask me. Over "Talahib". Nah ah.
That's just my opinion. Peace ;)
Post by: wedge on Oct 16, 2008 at 11:32 PM
Jojo, I'll be in NY on the 28th to Nov 20, any tips on where to go?
Hey oggs, I'll be in NYC on the 6th-9th of November. Maybe we can meetup or something. I'll try to avoid the usual tourist destinations there and try to go to those that we failed to visit the last time we were there.
Hm, not sure but do they screen films in the Lincoln Center even after the film fest?
Post by: Qoheleth on Oct 17, 2008 at 07:50 AM
I'm sorry, but I really think that Lav Diaz is overrated. I found him to be very pretentious, I mean what's the point of making your movies very long? I try to finish Batang West Side but I just can't.
PS: The nomination of his short film, "Nang matapos ang Ulan" in Gawad Urian is a joke if you ask me. Over "Talahib". Nah ah.
That's just my opinion. Peace ;)
I also wasn't able to see Batang West Side in its entirety. Fell asleep in middle part of the film. Wasn't prepared then to spend five hours in a theater.
But, after surviving (and adoring) Heremias: Book One, I began to love Diaz's films. Give his films another try. Melancholia seems to be a good one.
Was also rooting for Talahib to win at the Gawad Urian but it fell short.
Post by: Noel_Vera on Oct 17, 2008 at 09:18 AM
Delis are cheaper. The best would be Katz's at 205 East Houston.
Good Filipino, Chinese, Latin American and Mexican food in Queens.
And I recommend Kabab Cafe at 25-12 Steinway St., Astoria, Queens. If you google you'll find details on how to get there. No set menu, but I recommend anything lamb, brains, innards, or in a pomagranate sauce. Mr. Sayed is quite a character.
Post by: wedge on Oct 17, 2008 at 10:03 AM
Chinese, there is one that we ate at which is walking distance from the only BestBuy that I noticed.
Post by: Noel_Vera on Oct 17, 2008 at 11:40 AM
We scored some goeduck from a seafood market. Brought it home in a cooler, froze it till I could cook it. Cleaned it (it's like a foot long snail), sliced it up,sauteed it in butter and olive oil with green and red peppers over pasta, and it's an incredibly sweet and tender shellfish. Delicious.
Post by: Noel_Vera on Oct 17, 2008 at 11:46 AM
But put it in perspective; Lav is actually a middling length filmmaker, and hardly alone. Bela Tarr's Satantango is seven hours; The Human Condition is nine hours; the Chinese Burning of the Red Lotus Temple is twenty-seven hours, and silent to boot.
Longest film ever made is arguably John Henry Timmis' The Cure for Insomnia, at 87 hours. I'll actually want to try sit through that if I can, but only once.
Post by: Noel_Vera on Oct 17, 2008 at 11:54 AM
Post by: Noel_Vera on Oct 17, 2008 at 12:02 PM
Post by: sosy_high on Oct 18, 2008 at 09:09 PM
On Lav--understand the reaction, and there is something pretentious about parts of his films and what he's going for. But he does something no other Filipino filmmaker does (actually few other filmmakers do, period), and for that I value him highly.
But put it in perspective; Lav is actually a middling length filmmaker, and hardly alone. Bela Tarr's Satantango is seven hours; The Human Condition is nine hours; the Chinese Burning of the Red Lotus Temple is twenty-seven hours, and silent to boot.
Longest film ever made is arguably John Henry Timmis' The Cure for Insomnia, at 87 hours. I'll actually want to try sit through that if I can, but only once.
Even though I really think he is overrated, yes, Lav Diaz is 5x better than most of the present directors here in the Philippines (and oh, Jeffrey Jeturian is my favorite Filipino director).
The longest movie I've ever seen was the terrible movie Dances with Wolves (BORING as HELL! Gone with the Wind was also as long as this but it wasn't a boring movie. Even the Indians looks bored in this picture).
The Cure for Insomnia? I read somewhere that the film was about a guy reciting poems...right?
Post by: sosy_high on Oct 18, 2008 at 09:13 PM
I also wasn't able to see Batang West Side in its entirety. Fell asleep in middle part of the film. Wasn't prepared then to spend five hours in a theater.
But, after surviving (and adoring) Heremias: Book One, I began to love Diaz's films. Give his films another try. Melancholia seems to be a good one.
Was also rooting for Talahib to win at the Gawad Urian but it fell short.
This one kinda makes me laugh hahaha :D (magkatunog kasi...Lav Love hahaha)
Anyway, I haven't seen Heremias. I've only seen 2 Lav Diaz films (yung natapos ko)
Hesus Rebolusyonaryo-Hindi ko na masyadong matandaan to. Starring Donita Rose right?
Kriminal ng Baryo Concepcion-This one was very good. Electrifying performance by Bagatsing!
Yeah. Talahib was the best short film in Imahe Nasyon but it wasn't even nominated.
Post by: oggsmoggs on Oct 19, 2008 at 01:07 AM
Post by: Qoheleth on Oct 19, 2008 at 07:51 AM
This one kinda makes me laugh hahaha :D (magkatunog kasi...Lav Love hahaha)
Anyway, I haven't seen Heremias. I've only seen 2 Lav Diaz films (yung natapos ko)
Hesus Rebolusyonaryo-Hindi ko na masyadong matandaan to. Starring Donita Rose right?
Kriminal ng Baryo Concepcion-This one was very good. Electrifying performance by Bagatsing!
Yeah. Talahib was the best short film in Imahe Nasyon but it wasn't even nominated.
Haven't seen Hesus Rebolusyonaryo, Burger Boys and Ebolusyon ng Isang Pamilyang Pilipino. No schedule yet for Melancholia at the Dekada Cinemanila.
Serafin Geronimo: Kriminal ng Barrio Concepcion was from Diaz's Palanca winning script. Film was one of the best products of Joey Gosiengfiao's pito-pito concept. Jeffrey Jeturian was also one of those filmmakers who benefited from Gosiengfiao's support.
Talahib was nominated. http://www.gawadurian.com/nominees_archive.asp?year=2006
Post by: Noel_Vera on Oct 19, 2008 at 11:02 AM
Jeturian's good, with a more lighthearted storytelling style in the Brocka vein--realistic, but with a sharper use of humor (I can't see Brocka doing a decent comedy--even Tatay Kong Nanay is more drama than otherwise). Jeturian and Diaz are pracittioners in vastly different realms.
Post by: X44 on Oct 19, 2008 at 02:07 PM
Mendoza confines the action almost entirely to the movie house. That premise recalls Tsai Ming-liang’s Goodbye Dragon Inn, but Serbis has none of that film’s nostalgia for classic cinema. Here movie exhibition is an extension of the sex trade, exuberant in its tawdriness, steeped in heat and sweat, prey to randy projectionists and stray goats. Almodovar might make something more elegant out of the situation, but Mendoza’s careening camera yanks us from vignette to vignette, from the complaints of the operatic Nanay Flor to her loafing husband to the lusty projectionist with a boil on his buttock. Crowded with vitality, the film can spare its last moments for a burst of reaction shots that imply a whole new layer of comic-melodramatic turpitude."
Given the ambivalent responses towards it, I'm now more keen on watching this.
Post by: sosy_high on Oct 19, 2008 at 02:57 PM
Dances with Wolves isn't very long. I agree, it's terrible. And Gone with the Wind's overrated.
Jeturian's good, with a more lighthearted storytelling style in the Brocka vein--realistic, but with a sharper use of humor (I can't see Brocka doing a decent comedy--even Tatay Kong Nanay is more drama than otherwise). Jeturian and Diaz are pracittioners in vastly different realms.
I've seen the 236 minutes version of the film. God, I regret the day I watch that film.
Jeturian was my favorite modern director. Have you seen his Kubrador, kuya Noel? It was the best Local film of 2006 IMO.
Post by: Noel_Vera on Oct 19, 2008 at 06:54 PM
Post by: oggsmoggs on Oct 19, 2008 at 10:02 PM
Nope. Is it available on DVD yet? I've herad good things about it.
It's out on DVD Noel...
Post by: marj on Oct 20, 2008 at 04:14 AM
It was released on DVD.
Post by: Noel_Vera on Oct 20, 2008 at 12:57 PM
Two Brockas out on DVD! (http://criticafterdark.blogspot.com/2008/10/two-brocka-films-out-on-dvd.html)
Brocka's Insiang as viewed by a gaggle of American youths (http://criticafterdark.blogspot.com/2008/10/lino-brockas-insiang-as-viewed-by.html)
Santa Santita (Magdalena, Laurice Guillen, 2005) (http://criticafterdark.blogspot.com/2008/10/santa-santita-magdalena-laurice-guillen.html)
Appaloosa (Ed Harris, 2008) (http://criticafterdark.blogspot.com/2008/10/appaloosa-ed-harris-2008.html)
Tropic Thunder (Ben Stiller, 2008) (http://criticafterdark.blogspot.com/2008/10/tropic-thunder-ben-stiller-2008.html)
My Best Friend's Girl (Howard Deutsch, 2008) (http://criticafterdark.blogspot.com/2008/10/my-best-friends-girl-howard-deutch-2008.html)
La Orfanato (The Orphanage, Juan Antonio Bayona, 2007) (http://criticafterdark.blogspot.com/2008/10/el-orfanato-orphanage-juan-antonio.html)
Post by: Noel_Vera on Oct 20, 2008 at 01:50 PM
Post by: oggsmoggs on Oct 21, 2008 at 10:54 PM
Post by: rse on Oct 31, 2008 at 12:29 AM
Post by: keating on Oct 31, 2008 at 07:03 PM
November 1, 08
Tata Esteban's ALAPAAP- 2:00 A.M.
Lino Brocka's GUMISING KA, MARUJA- 5:30 a.m.
Post by: keating on Nov 05, 2008 at 08:09 PM
At seven o’clock on a Wednesday evening on April 27, 1983, the Film Academy of the Philippines held its first ever awards night for distinguished works and performances in films exhibited in 1982. The venue was the Manila Film Center—one of the cultural edifices that were constructed under the auspices of then First Lady, Madame Imelda Romualdez-Marcos.
That was the first FAP awards (called the Luna Awards since 2005) and we will stage the silver anniversary version of the awards close to this year’s end, officially within the Yuletide season.
The FAP awards, thus, hit silver this time around. A quarter of a century has been reached and through all those years, we never missed coming up with our peers-judge-their-peers awards-giving task.
How can we look back to that first ever awards night? What are the memorabilia we can dust off and put back on the conference table to reminisce on that fateful night? We still have the video footages. And the photo album. And the souvenir program.
But because we still need to transfer the video footages to a VCD, we relied on the photo album and the souvenir program to reconstruct what actually transpired that Wednesday night of April 27, 1983.
First…the photo album (we are actually reprinting some of the memorable photos in this souvenir program). The first photo in the album is a foursome of then FAP Director-General Manny de Leon, then San Juan Mayor Joseph Estrada, Ms. Maria Azucena Victoria Vera Perez-Maceda (more popularly known as Manay Ichu) and Atty. Espiridion Laxa.
In this first page, we also have photos of the late King of Philippine Movies Fernando Poe Jr. (or FPJ) and Deputy Director-General Jesse Ejercito. Succeeding pages carry photos of National Artist for Film Director Eddie Romero, Ms. Susan Roces, Armida Siguion-Reyna, Philip Salvador, Rudy Fernandez, Lorna Tolentino, Gina Alajar, Chanda Romero, Anna Marin, William Martinez, Nestor Torre, Maning Borlaza and then Board of Review for Motion Picture and Television Chairman Maria Kalaw Katigbak.
The next pages document the arrival of the then First Lady and Metro Manila Governor Imelda Romualdez-Marcos until she is led to a front row seat before the stage of the Manila Film Center.
The other photos cover the proceedings of the first ever awards night of the Academy. And we now refer to our souvenir program for a blow-by-blow account of that memorable and historic night.
There are actually only two messages printed in the souvenir program—one from Mrs. Marcos and the other from Director-General Manny de Leon.
The Madame’s message reads in part:
“Film is one of the most pervasive and potent media of communication that has influenced our civilization and has left a legacy that has enriched our minds, our hearts and our spirit. This is why we have repeatedly addressed a challenge to Filipino filmmakers to produce movies that will uplift the spirit of our people and inspire pride in the nobility of our race.”
Director-General De Leon recaps the fledgling academy’s first two years:
“On June 14, 1981 the movie community found itself together for the first time in the halls of Malacañang Palace. We uttered a pledge of unity and commitment to a brotherhood under the Film Academy of the Philippines. I know that in your minds, that day held no promises for they were mere words on a piece of paper. After that ritual, the Academy was further enmeshed in storms of inner conflicts and controversies that almost became fatal.”
“That storm is over, and for nearly two years we have managed not only to survive but to grow stronger, more cohesive, more mature.”
“Today, April 27 is the final test of this strength and our force. I urge every-one to share his whole self towards the success of our First Academy Awards. This is OUR Academy…this is YOUR Academy.”
The souvenir program runs just one solitary article, written by the late Rolfie Velasco. (This is reprinted as well in this 25th edition of our souvenir program).
Let us now go to the various numbers of the awards ceremonies in chronological order.
After the singing of the national anthem and a musical overture to open the program, Director-General Manny de Leon delivered the welcome speech. This was followed by a musical production titled Ang Buhay ay Parang Pelikula which was performed by Verni Varga, Something Special, the UP Concert Chorus and the Julie Borromeo dancers.
Mayor Erap then introduced the guest of honor, Mrs. Marcos, who delivered a speech.
Then Ms. Susan Roces and Ms. Gloria Romero explain the voting procedure followed by the academy members in selecting the first winners of the academy awards. (It would only be called the Luna Awards in 2005, on its 23rd year of existence).
Then the awarding began.
The first ever Academy award winner was the late Rodolfo ‘Boy’ Garcia who was adjudged the best supporting actor for his role in Ito Ba ang Ating mga Anak?. The other nominees were Paquito Diaz (In this Corner), Mark Gil (Palipat-Lipat, Papalit-Palit), Ronnie Lazaro (Oro, Plata, Mata) and Juan Rodrigo (Moral).
Liza Lorena was best supporting actress for her role in Oro, Plata, Mata, winning over Sandy Andolong (Moral), Cecille Castillo (Cain at Abel), Rio Locsin (Haplos) and Anna Marin (Moral).
Movie Queens, another musical number provided a break in the proceedings. Performers included the Bad Bananas of Johnny Delgado, Christopher de Leon, Edgar Mortiz and the late Jay Ilagan. The movie queens who paraded on stage included Josephine Bautista, Joyce Ann Burton, Dang Cecilio, Anna Lorraine Kier, Maricar Mendoza, Suzette Nicolas, Peachie Sacasas, Rosemarie de Vera and Desiree Verdadero.
The late Vic Macamay won the best sound award for Gaano Kadalas ang Minsan? over Rodolfo Baldovino (Cain at Abel), Bimbo Chong (Sgt. Pork & Corporal Beans), Ramon Reyes (Oro, Plata, Mata) and Rolly Ruta (Haplos).
Edgardo ‘Boy’ Vinarao was best editing winner for Pedring Taruc over Enrique ‘Ike’ Jarlego (Sinasamba Kita), Jess Navarro (Batch ’81) and Augusto Salvador (Relasyon). Boy, Ike and Augie eventually became directors too.
The third musical number, Tribute to the Filipino Comedians, was performed by Sharon Cuneta, backed up by the UP Concert Chorus and
the Julie Borromeo dancers.
Then it was the awarding of the best production design which on record was the first double-winner when Don Escudero & Rodell Cruz won for Oro, Plata, Mata, besting the other nominees, namely, Peque Gallaga (Ito Ba ang Ating mga Anak?), Cesar Hernando (Batch ’81), Raquel N. Villavicencio (Himala) and Fiel Zabat (Moral).
The best cinematography award was won by Romy Vitug for Sinasamba Kita over Felizardo Bailen (Gaano Kadalas ang Minsan?), Fredy Conde (Pedring Taruc), Loreto Isleta (Hindi Kita Malimot) and Sergio Lobo (Himala).
After these two awards, Nonoy Zuñiga, Pops Fernandez and Ivy Violan performed a medley of the five nominated theme songs.
Sinasamba Kita by the late George Canseco was voted the best original song, winning over Willy Cruz’ Never Ever Say Goodbye, Marita A. Manuel’s Puppy Love, Rey Ramos’ Paalam (from Get My Son, Dead or Alive) and Pablo Vergara’s Katumbas ay Buhay (from Vendetta).
The late Ernani Cuenco won the best musical score award for Pedring Taruc. The other nominees were Ryan Cayabyab (Kamakalawa), Willy Cruz (Never Ever Say Goodbye), Lorrie Ilustre (Batch ’81) and Marita A. Manuel (Puppy Love).
Raquel Villavicencio, who missed out on the best production design award, came back to win the best original screenplay award with Clodualdo del Mundo Jr. for Batch ’81. They bested Tom Adrales (Gaano Kadalas ang Minsan?), Ishmael Bernal, Raquel Villavicencio & Ricky Lee (Relasyon), Ricky Lee (Moral) and Jose Javier Reyes (Oro, Plata, Mata).
The late Orlando Nadres won the best screenplay adaptation for Sinasamba Kita over Fred Navarro (Ang Panday 3), Bibeth Orteza (Palipat-Lipat, Papalit-Palit), Edgardo M. Reyes (Uod at Rosas) and Humilde ‘Meek’ Roxas (Waywaya).
Noel Trinidad, Subas Herrero, Maya Valdez and Tessie Thomas then performed the Filipino Movie Themes number with the Julie Borromeo dancers.
Then it was time for the best director and best picture awards…
Romy Suzara won as best director for Uod at Rosas. The other nominees were Marilou Diaz-Abaya (Moral), Peque Gallaga (Oro, Plata, Mata), Mike de Leon (Batch ’81) and Ronwaldo Reyes (FPJ’s directorial alias) for Ang Panday 3.
Manay Ichu’s MVP Pictures’ Batch ’81 was voted the first best picture of the academy awards. It won over Viva Films’ Gaano Kadalas ang Minsan?, Mirick Films’ Haplos, Seven Star Productions’ Moral and Regal Films’ Relasyon. (It will be easily noted that three out of the five contenders were Vilma Santos starrers)
The finale musical number brought back Verni Varga, the UP Concert Chorus, the Julie Borromeo dancers and the entire cast plus the winners.
With the stage overflowing with showbiz people, the best actor and best actress awards were announced.
Philip Salvador (for Cain at Abel) was declared best actor over Robert Arevalo (Santa Claus is Coming to Town), Mark Gil (Batch ’81), Christopher de Leon (Relasyon) and Joel Torre (Oro, Plata, Mata).
The last winner of the night turned out to be Vilma Santos who was best actress for her performance in Relasyon. The other aspirants were Gina Alajar (Moral), Nora Aunor (Himala), Coney Reyes-Mumar (Pedring Taruc) and Lorna Tolention (Moral).
Then everything was history. After 25 years, we remember and we celebrate and we recommit ourselves for another quarter of a century. The Film Academy of the Philippines and its Luna Awards live on.—Jose N. Carreon
Post by: ev on Nov 07, 2008 at 08:27 AM
Oro, Plata, Mata
Relasyon
Moral
Batch 81
Himala
Haplos
Cain At Abel
Gaano Kadalas Ang Minsan?
Sinasamba Kita
Uod At Rosas
All 10 films are certified Classics or almost-a-classic.
Can't imagine present or future filipino films can achieve or reach those standards in one calendar year.
Post by: Noel_Vera on Nov 07, 2008 at 05:16 PM
Ramona Diaz's Imelda documentary; Pete Lacaba (http://criticafterdark.blogspot.com/2008/11/imelda-marcos-introduced-pete-lacaba.html)
Fritz Lang's Destiny (http://criticafterdark.blogspot.com/2008/11/der-mude-tod-destiny-fritz-lang-1921.html)
Post by: keating on Nov 13, 2008 at 06:56 PM
By Bayani San Diego Jr.
Philippine Daily Inquirer
First Posted 18:27:00 11/12/2008
MANILA, Philippines—In its fourth year, the digital film festival Cinema One Originals continues to attract reputable actors to roles in the entries.
Five of this year’s seven features have mainstream stars in the lead cast, says Ronald Arguelles, channel head and festival executive producer.
• Roman Carlo Olivarez’s “Upcat” has the father-and-son tandem of Bembol and Felix Roco.
Olivarez recalls being daunted working with veterans Mark Gil and the elder Roco. “I was nervous and excited as hell, but I tried to act cool.” He describes Felix as “a discovery ... charismatic.”
• Ron Bryant is grateful to his cast, led by Gil and Eula Valdes, for remaining committed to his film “Alon,” set on a secluded beach in Sabang Point, Agno, Pangasinan.
“We shot for six days straight, at the peak of the rainy season,” Bryant recounts. Even so, he notes, collaborating with Valdes and Gil was “a breeze.” Teen star Charee Pineda, Bryant adds, was just as “professional, always prepared,” like the vets.
• Jon Red, who directed “motorCYCLE,” commends his cast, led by Jason Abalos, Nonie Buencamino and Shamaine Centenera. “Everyone was cooperative and dedicated; it was no different from their work in bigger films.”
• Richard Somes says he also gathered a dream team for “Yanggaw”: Ronnie Lazaro, Joel Torre and Tetchie Agbayani. “The best thing about working with them is the element of surprise they brought to their characters. I never knew what they would do with every take.”
• Ruelo Lozendo’s “Kolorete,” a period drama about agrarian conflict, boasts indie regulars Roeder Camañag, Perry Dizon, Chiqui Xerex Burgos, Coreen Chan, Jean Judith Javier, sexy star Althea Vega and Cinemanila Best Actress Angeli Bayani.
Says Lozendo of his cast: “They’re professional, open-minded and patient. Since most of them are from theater, they had to tone down their acting to fit the film medium.”
• “Yul Servo and Emilio Garcia needed very little coaching,” Senedy Que points out— even in the five-minute final scene of “Dose” that was entirely wordless. “They acted only with their eyes. It’s my tribute to Ishmael Bernal.”
Alessandra de Rossi, he says, accepted the role “gratis... because we worked together in Gil Portes’ ‘Mga Munting Tinig’ (which he co-wrote with Adolf Alix Jr).”
Also a revelation, says Que, is its titular star, 11-year-old newcomer Fritz Arvhie Chavez. “He stood out among those we auditioned—especially in the last tryout held in a crowded fast-food restaurant. He ignored the people around him and simply gave his best.”
• Sherad Anthony Sanchez’s “Imburnal” similarly top-bills unknown lead actors— “real-life street children.”
Cinema One Originals will screen in schools (Far Eastern University on Nov. 19, UP Diliman on Nov. 20) and in malls (IndieSine Robinsons Galleria). Awards ceremony is on Nov. 28.
Post by: keating on Dec 08, 2008 at 11:14 AM
Circle of Online Noranians (ICON), will hold free screenings of Sa
Likod ng Himala, a movie-in-the-making documentary on Ishmael Bernal's
masterpiece Himala (ECP, 1982),fittingly at the UPFI Bernal Gallery on
December 16, 2008 (Tuesday), starting at 7 pm.
In Super 8mm format, this 20-minute documentary was made by the
in-house staff of the former UP Film Center (now expanded into the UP
Film Institute). It features rare footage, among others, of Bernal in
action during the filming of the movie's momentous stampede scene. The
UPFI has preserved the original 26-year-old reel of the film in its
archives in almost pristine state—a miracle of sorts
This one-night-only event is meant to honor the film Himala, starring
Superstar Nora Aunor and penned by Ricky Lee, for winning the CNN APSA
Viewers' Choice Award for Best Asia-Pacific Film of All Time,
presented recently at the 2nd Asia-Pacific Screen Awards held in
Queensland, Australia (see video).
This special tribute, a special year-ender for the UPFI, has been
planned even before Himala got the CNN APSA award. "The fact that this
Bernal film has been shortlisted with the works of world cinema
masters like Akira Kurosawa, Satyajit Ray, Wong Kar-wai, and Ang Lee,"
said UPFI Programming Director Nonoy Lauzon, "is a great feat by itself."
Described by critic Alfred Yuson as "definitely world class," Himala
holds the distinction of opening the 2nd Manila International Film
Festival in 1983. It was handpicked by Berlin festival director Moritz
de Hadeln, no less, to be part of the competition film selection of
Berlin International Film Festival in the same year, the first and
only Filipino film so far that competed for the Golden Bear. It then
went on to be screened in key Russian cities—Moscow, Kiev, and
Alma-ata—before it went to the Chicago International Film Festival
where it won the Bronze Hugo Award for Best Feature Film.
Himala has remained as one of National Artist Ishmael Bernal's most
exhibited films in both local and international film events. From the
'80s to the current decade, it has been shown in world's key cities
such as Taipei, Bangkok, Tokyo, Jakarta, Los Angeles, Hong Kong,
Vienna, and New York. In 2007, iHimalaBHimalaHimala was included in
the programs of Berlin Hot Shots Film Festival and Paris Film Festival.
The Bernal Gallery on the same day will showcase a mini Himala
exhibit, organized by the International Circle of Online Noranians.
The group will also conduct a short program honoring the film and some
of the people behind it. In between screenings of the documentary,
ICON will also hold activities such as film discussion and forum with
distinguished guest.
Post by: Noel_Vera on Dec 08, 2008 at 01:03 PM
Post by: keating on Dec 12, 2008 at 02:01 AM
Post by: oggsmoggs on Dec 12, 2008 at 05:19 PM
Post by: keating on Dec 14, 2008 at 01:04 PM
Isang pambihirang video mula sa archives ng UP Film Institute (UPFI)
ang pormal na isasapubliko sa unang pagkakataon. Itatanghal ang Sa
Likod ng Himala, 20-minutong dokumentaryo ukol sa paggawa ng
pelikulang Himala (ECP, 1982) ni Ishmael Bernal, sa UPFI Bernal
Gallery, Disyembre 16, 2008 (Martes). Libre ang bawat screening na
magsisimula sa ika-7 ng gabi.
Ginawa ang dokumentaryo noong 1982 ng in-house staff ng UP Film
Center (pinalawak ngayon bilang UP Film Institute). Limang resident
cameramen ng Film Center ang nagsadya sa set ng Himala sa disyerto
ng Paoay, Ilocos Norte. Naroon sila sa lokasyon habang kinukunan ang
isa sa highlights ng pelikula—ang pagbaril kay Elsa (Nora Aunor) sa
burol habang nagtatalumpati, ang sumunod na stampede, at ang
pagbuhat ng mga deboto sa katawan ng bisyonaryo. Gamit ang Super 8mm
movie camera, nagtulong ang lima sa pagkuha ng footage.
Ibinunga nito ang isang dokumentaryong di matatawaran ang halaga.
Bukod sa makasaysayan, naidokumento rito ang buong giting na
pamamahala ni Ishmael Bernal (National Artist for Film) sa pagkuha
sa isa sa pinakamalalaking eksena sa Sine Pilipino, gamit ang pitong
kamera at sangkot ang halos tatlong libong tao. Masisilip dito kung
bakit at paano naging isang dakilang obra ang Himala na patuloy na
kinikilala sa mundo.
Ang okasyon ay pagpupugay ng UP Film Institute, sa pakikipagtulungan
ng International Circle of Online Noranians (ICON), sa pelikulang
Himala sa pagwawagi nito ng CNN Viewers' Choice Award for Best Asia
Pacific Film of All Time. Iginawad ang naturang parangal noong
Nobyembre sa 2nd Asia Pacific Film Awards na ginanap sa Queensland,
Australia.
Ang Himala ang pinakaimpluwensiyal na pelikula ni Bernal. Nagkaroon
ito ng bersiyong teatrong musikal at dramang panradyo. Naging
inspirasyon ito ng isang award-winning film. Di rin mabilang ang
pagtukoy dito sa iba't ibang midyum ng kulturang popular. Nakatanim
na sa kamalayan ng Filipino ang mga linya sa pelikula.
Pinukaw din ng Himala ang atensiyon ng mundo. Binuksan nito ang
Manila International Film Festival noong 1983. Sa Europa, nag-
premiere ito sa Berlin Film Festival bilang official selection para
sa Golden Bear nang taon ding iyon, bago lumahok sa Moscow filmfest.
Sa dating USSR, itinanghal ito sa mga siyudad ng Kiev (Ukraine) at
Alma-ata (Kazakhstan). Isinali rin ang pelikula sa 19th Chicago
International Film Festival kung saan ito nag-uwi ng Bronze Hugo
Prize para sa Best Feature Film.
Sa nakalipas na higit dalawang dekada, nailibot na ang pelikula sa
Taipei, Bangkok, Tokyo, Jakarta, Los Angeles, Hong Kong, Vienna, New
York, at iba pang siyudad. Ngayong taon, bahagi ang Himala ng
programa ng Berlin Hot Shots Film Festival (Germany) at Paris Film
Festival (France).
Post by: oggsmoggs on Dec 24, 2008 at 12:31 PM
Post by: keating on Dec 25, 2008 at 02:09 PM
Post by: oggsmoggs on Dec 28, 2008 at 10:22 PM
Post by: sosy_high on Dec 29, 2008 at 11:39 PM
And oh, Mr. Noel Vera's quote is on the cover too. :D
Post by: Noel_Vera on Dec 30, 2008 at 08:14 AM
Post by: indie boi on Dec 30, 2008 at 08:36 AM
Post by: keating on Dec 30, 2008 at 11:14 AM
Can't help but to shout in raves and cheers after watching this videofilm last night. Marketed as a videomovie back in 1986 which opened the first Independent Film & Video Festival in Wave Cinema in Cubao, BILANGGO SA DILIM can qualify though as a mainstream art house flick with the talents of Joel Torre, Rio Locsin and Cherie Gil combined in an ensemble acting plus Rody Lacap and Ely Cruz as part of the production team, Pablo Biglang Awa for the title sequence, editing and Jun Latonio for the haunting musical score. Based on a John Fowles novel, THE COLLECTOR.....a man locked in the world of obsession and paranoia refused to confront his past amidst the guilt of murdering his kidnap victim and kidnapping another one. Joel Torre shines in his characterization as Lito/Eddie..... beyond doubt is even much better than Anthony Perkins in PSYCHO, Jack Nicholson in THE SHINING. Cherie Gil's sensuality and bravura performance exudes throughout the film especially in the climactic chase scene where Mike de Leon cuts to a high-angle slow motion shot of the protagonists worthy enough to keep you at the edge-of-your-seat!
With only less than 15 films tucked in his filmography, no one never questions the man's technical competence. Since his films have always been polished and flawless in terms of technical craftmanship. The limitation of the video medium that he demonstrated in BILANGGO SA DILIM declares his return to solid art form after dabbling in the box-office hit komiks melodrama HINDI NAHAHATI ANG LANGIT, high artistry inspite of the limitation of the medium. If this videofilm will be released now, it might be the best among all the indies combined. And with such a small resources, you can always count on the genius of Mike de Leon.
Post by: sosy_high on Dec 30, 2008 at 11:50 AM
BILANGGO SA DILIM (Mike de Leon, 1986)
Can't help but to shout in raves and cheers after watching this videofilm last night. Marketed as a videomovie back in 1986 which opened the first Independent Film & Video Festival in Wave Cinema in Cubao, BILANGGO SA DILIM can qualify though as a mainstream art house flick with the talents of Joel Torre, Rio Locsin and Cherie Gil combined in an ensemble acting plus Rody Lacap and Ely Cruz as part of the production team, Jun Latonio for the haunting musical score. Based on a John Fowles novel, THE COLLECTOR.....a man locked in the world of obsession and paranoia refused to confront his past amidst the guilt of murdering his kidnap victim and kidnapping another one. Joel Torre shines in his characterization as Lito/Eddie..... beyond doubt is even much better than Anthony Perkins in PSYCHO, Jack Nicholson in THE SHINING. Cherie Gil's sensuality and bravura performance exudes throughout the film especially in the climactic chase scene where Mike de Leon cuts to a high-angle slow motion shot of the protagonists worthy enough to keep you at the edge-of-your-seat!
With only less than 15 films tucked in his filmography, no one never questions the man's technical competence. Since his films have always been polished and flawless in terms of technical craftmanship. The limitation of the video medium that he demonstrated in BILANGGO SA DILIM declares his return to art form after dabbling in the box-office hit komiks melodrama HINDI NAHAHATI ANG LANGIT, high artistry inspite of the limitation of the medium. If this videofilm will be released now, it might be the best among all the indies combined. And with such a small resources, you can always count on the genius of Mike de Leon.
Woah. I've been dying to see this. San mo po ito napanuod?
Post by: rse on Dec 30, 2008 at 01:29 PM
Tanging Ina Ninyong Lahat
Suffers a little bit with sequelitis. Not as focused as the first one. Still there are a lot of hilarious moments. Wait for the DVD.
Baler
Nice photography, and well-made. Acting is so-so. The leads just don't have chemistry and the movie can't seem to figure out whether it's a love story or a historical drama. Philip Salvador is acting too much...it looks like he's auditioning to have an award. Still it's worth your time.
BTW it would have worked better if they used a real church. The set was too distracting for me because it looks sooo obviously fake. Also some of the actors who are supposed to be Spaniards look very native it's also very distracting (but I forgive it for that, obviously for budgetary reasons).
Dayo
I almost forgot that I saw this as well. Not very memorable. It's Disney, with Philippine budget.
I also wanted to see One Night Only but wasn't able to due to time constraints.
Post by: keating on Dec 30, 2008 at 05:46 PM
Woah. I've been dying to see this. San mo po ito napanuod?
I saw it at my cohort's place. We were suppose to go to a party but ended up watching it instead.
Post by: keating on Dec 30, 2008 at 07:15 PM
Funky, kinetic, laugh fest to the max from the company (Juan dela Cruz Prods.) that gave us ISANG GABI, TATLONG BABAE. A hunky taxi driver played by Orestes Ojeda drives around and has four female passengers riding, four stories intertwined in this omnibus film. The comedy is a breath of fresh air no toilet humor and the gags in different situations doesn't fall flat. Credit should be given to its wacky cast that includes Pilar Pilapil, Celia Rodriguez, Alona Alegre and Boots Anson Roa. The music of the 70's fills in with the tunes of Three Degrees, Stylistics and Simon Garfunkel. Most of the cast from the lead down to its supporting players like Vina Cansino & Sandy Garcia can also be seen in the other camp masterpieces by Gosiengfiao & Perez most notably in ZOOM ZOOM SUPERMAN & SI POPEYE ATBP. Boots Anson Roa sizzles with those virginal looks cavorting and flirting with Orestes on the final episode.
Post by: rse on Jan 01, 2009 at 11:06 PM
Tatlo, Dalawa, Isa.
I was pleasantly surprised by this. The first movie in the anthology is very un-Brocka. It reminds me more of Batch 81, Full Metal Jacket, even Salo (the cutting-of-hair scene).
The 2nd movie is quintessential Brocka. It's very melodramatic but it just gets you. Anita Linda's performance is simply heartbreaking. Unforgettable.
The 3rd movie is devilishly delicious. I didn't know that Mary Walter can be that creepy! Great great movie!
My Only U
One of the better commercial love comedy I've seen recently. It's a very charming movie.
My Big Love
Standard fair romantic comedy. Not that bad.
For the First Time
KC is so beautiful. I think Joyce Bernal is overrated. Ruffa's brother is trying too hard to be tough in this movie. It just isn't believable.
My Bestfriend's Girldfriend
Your typical GMA/ABS kinda movie. Glossy, forgettable.
Post by: oggsmoggs on Jan 02, 2009 at 02:03 AM
Post by: rse on Jan 02, 2009 at 06:12 PM
Post by: halvert on Jan 04, 2009 at 08:52 PM
Post by: rse on Jan 04, 2009 at 09:55 PM
Post by: jdv1229 on Jan 05, 2009 at 07:14 AM
Post by: Noel_Vera on Jan 05, 2009 at 11:03 AM
It's useful to see some of Mendoza's models--basically the Dardennes, a bit of Von Trier or the Dogme crowd, the neorealists before them, only applied to the Filipino milieu. He's got his niche in the pantheon.
Post by: halvert on Jan 05, 2009 at 03:06 PM
Post by: rse on Jan 06, 2009 at 01:21 AM
Monster Mom
Ruffa's annoying in this movie (eventhough her character is supposed to be annoying). I can't stand her. Her mom Annabelle looks conscious and scared of the camera. Still it's a Jose Javier Reyes movie so it's still watchable.
Special Kind of Love
The saving grace of this movie is Sarah Geronimo. I'm not familiar with her aside that she's supposed to be a winner of a famous singing contest. She's actually very charming and I think, very funny...
When Love Begins
Watchable albeit forgettable and by-the-number romance movie. And Anne Cortiz (?) is way too young for Aga. Their kissing scenes made me cringe.
Loving You
It's nice that they've started making movies about the lives of the call center employees. Still this is your typical teenage romance movie. Although it echoes some bits of Bagets...
Apat Dapat, Dapat Apat
I didn't get this movie. Although I like the actors here. They're great commedienes, but they're wasted here. This movie is just so bad and better avoided.
Post by: rse on Jan 06, 2009 at 01:22 AM
^where is manoro available? any other recent films i should look for on dvd? thanks!
Manoro and Foster Child I can't wait to see, I don't think they're available yet though....
I'm not a fan of Dogme films (and Lars von Trier), although a huge admirer of the neo-realist movement...
Post by: rse on Jan 06, 2009 at 06:05 AM
This has got to be one of the best titled movies in a while. The movie itself is not bad but it doesn’t live up to the excellent title. My main problem with it is that the whole thing doesn’t ring true. It lacks real depth. Also it’s trying too hard to be edgy and shocking. The narrative style used distracts more than add to the movie. The performances are not bad except the actor who played the narrator. He’s just not very interesting to watch on the screen.
Post by: sosy_high on Jan 07, 2009 at 05:24 PM
Some other minor works I've seen on DVDs recently:
Special Kind of Love
The saving grace of this movie is Sarah Geronimo. I'm not familiar with her aside that she's supposed to be a winner of a famous singing contest. She's actually very charming and I think, very funny...
When Love Begins
Watchable albeit forgettable and by-the-number romance movie. And Anne Cortiz (?) is way too young for Aga. Their kissing scenes made me cringe.
Loving You
It's nice that they've started making movies about the lives of the call center employees. Still this is your typical teenage romance movie. Although it echoes some bits of Bagets...
Sarah Geronimo was adorable in A Very Special Love. You should watch her MMK episode with Cherry Pie Picache. She was really good in it. And Loving You is a copy cat of the Korean movie Sad Movie
Post by: Noel_Vera on Jan 09, 2009 at 01:37 PM
The Curious Case of Benjamin Button (David Fincher, 2008) (http://criticafterdark.blogspot.com/2009/01/curious-case-of-benjamin-button-david.html)
Twilight Samurai, Shop Around the Corner, King of Kings, Casablanca (http://criticafterdark.blogspot.com/2008/12/recent-viewings-twilight-samurai-once.html)
Post by: oggsmoggs on Jan 09, 2009 at 05:53 PM
Post by: rse on Jan 10, 2009 at 03:57 PM
Kontrobersyal
This is a well made satire (?) on movie making. Although great in her role, I think that Gina Alajar doesn't have the "assets" to be a believable bomba star. The role would have been perfect for Alma.
Charo Santos gives a devilish performance, and Philip Salvador gives a solid supporting role. BTW on a side note, the transfer of the DVD is in a very bad condition, but still watchable (bought it for Php 150).
Gumapang Ka sa Lusak
Bought the DVD for Php 150. Not bad. The movie is my formal introduction to Brocka. This one I saw in the cinema when it was shown. It's still a solid piece of political melodrama I used to hate Allan Paule's performance in this movie but now revisiting it, I'm not that annoyed anymore. Christopher de Leon as usual annoys the hell out of me. I still prefer his "more natural" performances when he was still younger...Charo Santos' version of Imelda is so fun to watch...
Post by: keating on Jan 11, 2009 at 11:23 AM
Panis ang docu from HEARTS OF DARKNESS. Move on Francis Ford Coppola! If during the shooting of SALOME the music that filled the air down at Paracale already grated the ear, little that everyone realize that the concerto was just building up to a crashing crescendo loud enough to shatter anybody's eardrums. The war's final and fiercest battle was waged over the film's musical score. When it finally ended....there were two versions of the film:
The Laurice version and The Armida version!
Post by: halvert on Jan 11, 2009 at 04:26 PM
Post by: rse on Jan 11, 2009 at 05:15 PM
I just finished reading an article from Observer Mag, Sunday Magazine of Times Journal dated Nov. 28, 1982. If they will release SALOME on dvd it will be an interesting one-hell of a docu the big fight that transpired between Armida Siguion-Reyna the producer and its director Laurice Guillen during and after the making of the movie. From their warpath on the schedule at Paracale, Camarines Norte down to the shoving match during the post production of the film at LVN Studios where Armida asked for a bodyguard from Juan Ponce-Enrile after firing her asst. director but not to let Laurice go on with the post-prod up to the fight between choosing the musical director between Max Jocson & Ryan Cayabyab......that was really one-hell of a movie!
Panis ang docu from HEARTS OF DARKNESS. Move on Francis Ford Coppola! If during the shooting of SALOME the music that filled the air down at Paracale already grated the ear, little that everyone realize that the concerto was just building up to a crashing crescendo loud enough to shatter anybody's eardrums. The war's final and fiercest battle was waged over the film's musical score. When it finally ended....there were two versions of the film:
The Laurice version and The Armida version!
Can you post the article here? Thanks... ;D
Post by: Noel_Vera on Jan 11, 2009 at 07:21 PM
Alma's perfect, I agree, but she just can't act.
On Gumapang--it's pretty good, and I do love Charo in it, but it resembles Bagong Hari too much (I keep seeing Dan Alvaro in Boyet's shoes) that I end up comparing the former to the latter, with not very favorable results. I know I shouldn't, but I can't seem to help it (and Brocka's climactic action sequence really doesn't do him any favors).
Post by: jdv1229 on Jan 11, 2009 at 08:21 PM
ooh! interesting! which version was shown at the theaters? and is the other version still out there somewhere? and which was better?
Armida's version was the one shown in theaters with Ernani Cuenco's score intact while I had the chance to watch Laurice's cut in 1982 with Max Jocson's music which was slightly similar to Cuenco's. Cinema One houses Guillen's print which in my opinion is much, much better.
Post by: rse on Jan 12, 2009 at 03:19 AM
I don't know why this movie got an A from the board. It's your standard horror flick. Actually it's like a "medley" of all famous American, Japanese and Filipino horror movies..Still it's slightly better than other local horror movies I've seen this year
Signos
This horror movie has one of the best twist... Unfortunately most of it was a big bore. Although the cast were all good.
I’ve Fallen For You
One of the better Pinoy teenage movies I’ve seen recently. It helps that the two young stars have great chemistry. What they lack in acting talent they fill it with their natural charms. The story’s not too bad too…
Bagong Buwan
I was pleasantly surprised by this movie. I’ve avoided this film for a while now since I’ve been majorly disappointed by Muro-ami. It was actually a good movie…not a great one but its way better than her other bloated productions. It’s also nice to see a movie about our Muslim countrymen for a change…
Seroks
This movie is very moody and well photographed. The script could have been better though. Still I think that it’s a good effort.
Ikaw Pa Rin Bongga Ka Boy
The Ai-Ai – Robin tandem looks good on paper but this movie doesn’t deliver. A big bore.
Post by: keating on Jan 12, 2009 at 11:05 AM
The article is too long, rse. But i'll try to post it soon. The feisty Armida really ram down Laurice's throat. ;D
She was even quoted she will offer the film to Demet Velasquez just to oppose to Laurice choice for Max Jocson. It came to a point that Ryan doesn't want to do the film anymore that's why Ernani Cuenco ended up for Armida's choice.
Jojo, does the Laurice version much longer than Armida's version?
Post by: Noel_Vera on Jan 12, 2009 at 02:48 PM
Post by: rse on Jan 14, 2009 at 01:47 AM
Bagong Buwan (http://movies.groups.yahoo.com/group/noelmoviereviews/message/283) I'm not really a fan of. Lav, who grew up in Mindanao, points out a lot of mistakes with regards to how Muslims are depicted in that movie.
We don't have enough movies about our Muslim brothers. I hope that Lav makes one someday.
Post by: rse on Jan 14, 2009 at 02:40 AM
The article is too long, rse. But i'll try to post it soon. The feisty Armida really ram down Laurice's throat. ;D
She was even quoted she will offer the film to Demet Velasquez just to oppose to Laurice choice for Max Jocson. It came to a point that Ryan doesn't want to do the film anymore that's why Ernani Cuenco ended up for Armida's choice.
So these all happened before filming? And Armida even appeared in the movie. That would have been a fun shoot!
Post by: Noel_Vera on Jan 14, 2009 at 01:20 PM
Post by: keating on Jan 18, 2009 at 01:21 PM
The rare trilogy TATLONG MUKHA NI ROSAVILMA airs on Jan 19 at 3:00 pm. Bernal's TISOY on Friday, 3pm.
Post by: halvert on Jan 18, 2009 at 03:18 PM
Post by: thegoodbyeguy on Jan 18, 2009 at 06:32 PM
sana star cinema would release these "rewind" classics on dvd! maraming film buffs here and abroad ang matutuwa! is it very expensive to put them on dvd?
Kahit hindi Star Cinema ang magreleased ok na. ;D
Post by: sosy_high on Jan 18, 2009 at 08:58 PM
Post by: keating on Jan 19, 2009 at 10:28 AM
sana star cinema would release these "rewind" classics on dvd! maraming film buffs here and abroad ang matutuwa! is it very expensive to put them on dvd?
There are so many classic films now in their vault waiting to be put on dvd. As Doy del Mundo says.....Cinema One is the National Film Archive now.
Post by: mrclark on Jan 21, 2009 at 04:43 PM
based from the pictures behind the cover, I thought the picture quality was improved.
Unfortunately, there are a lot of scratches in the film.
Since they have transferred the film to DVD and it's "digitized"
can't they clean up the scratches and sort of edit/improve the colors?
It's good that they are bringing back the classics,
it's just sad that they can't go for an extra mile in really improving the picture quality.
I was looking forward to buy Jack en Jill (Black n white, Dolphy version)
but now I'm a bit hesitant to buy those other old films.
Post by: sinehansakanto on Jan 22, 2009 at 10:32 AM
Just bought Ang Tatay Kong Nanay a few days ago on DVD.
based from the pictures behind the cover, I thought the picture quality was improved.
Unfortunately, there are a lot of scratches in the film.
Since they have transferred the film to DVD and it's "digitized"
can't they clean up the scratches and sort of edit/improve the colors?
It's good that they are bringing back the classics,
it's just sad that they can't go for an extra mile in really improving the picture quality.
I was looking forward to buy Jack en Jill (Black n white, Dolphy version)
but now I'm a bit hesitant to buy those other old films.
I read an interview by the guy who did the transfers some time ago, and he said the source for the DVD is actually a umatic tape. So it was probably impossible to really clean it up. Besides, it's not that simple even if the source is 35mm film. Cleaning out the image usually takes years and special equipment, which means lots of money. (Which is why Insiang is the only movie that has a decent DVD copy, because its restoration was done and financed by a foreign group and not by a Filipino restorer.) And color is not very easy to fix. Literally, you have to record it, digitize it, and manipulate the color based on what you think is the "proper" color. In which case, the colors may be true but one way or another that "interpretation" makes it a step further from being true to the artist's original vision.
The DVD copy of Jack en Jill is good, but the audio is really bad, almost incomprehensible. In short, let us all just be thankful for what we have and not what we could have had.
Post by: mrclark on Jan 22, 2009 at 01:22 PM
And thanks for the heads-up about the Jack en Jill audio quality.
oh well.... :-[
Post by: Noel_Vera on Jan 23, 2009 at 09:02 AM
Post by: keating on Jan 25, 2009 at 03:39 PM
So these all happened before filming? And Armida even appeared in the movie. That would have been a fun shoot!
All of the production staff were chosen by Laurice before filming starts except for the musical scorer where Armida wants Ryan Cayabyab to do the job. When Laurice chose Max Jocson and they had meeting with Armida......Max was quoted saying........"mahirap pala iskoran tong pelikulang ito!"
Sort of premonition of things to come. ;D
Post by: oggsmoggs on Jan 25, 2009 at 05:43 PM
Post by: keating on Jan 27, 2009 at 07:45 PM
"I would really love to work with Sarsi Emmanuelle again. She didn't gave me any headache at all on the set of VIRGIN FOREST. She would go back to Manila to fulfill all her commitments and go back again on our location in Atimonan, Quezon riding a cab straight for 12 hours! Miguel Rodriguez gave me a terrible headache God Bless his soul but not too much! He would be gone on the set every weekend. Of all the men lusting on Sarsi, it was...... who f**k her!
;)
Post by: sosy_high on Jan 28, 2009 at 08:37 PM
Post by: Noel_Vera on Jan 29, 2009 at 11:05 AM
Maricel is as Mario O'Hara put it one of the three most talented actresses in Philippine cinema. Maybe her problem is she hasn't been involved in the kind of classic Filipino films that say Vilma or Nora have been lucky enough to be either cast or to have produced. It's good work (Hinugot sa Langit, and of all things, Carlos Siguion Reyna's adaptation of Henry James' Washington Square), I just don't think it's some of the greatest.
Lolita on the other hand HAS been involved in one of Philippine cinema's greatest works: Tinimbang Ka Ngunit Kulang. She's also excellent in melodramas such as Stardoom and Tatlo Dalawa Isa (funny, but in Tinmbang and Tatlo Dalawa she and O'Hara were lovers; in Stardoom made earlier they were mother and son). Little else I can say about Ms. Rodriguez; she is simply sui generis.
Post by: sosy_high on Jan 30, 2009 at 12:37 AM
Post by: jdv1229 on Jan 30, 2009 at 07:08 AM
Yung mga iniidolo kong posters dito sa Pinoy Entertaiment, Sir Noel Vera, Sir Keating and Sir Jojo, ano po ba tingin niyo kina Sharon Cuneta. Maricel Soriano and Lolita Rodriguez bilang mga artista? Salamat po ;)
I liked Sharon in Danny Zialcita's To Love Again. I consider this as her transition movie since she still did her usual kind of performance injected with a little maturity which prepared her for the
numerous Viva produced komiks based melodramas she topbilled in the mid 80's. Maricel on the other hand excels not just in drama but she's also a great comedianne in films like Pabling and Galawgaw even in the many movies she did for Chaning Carlos, Inday, Inday Sa Balitaw and Jack En Poy come to mind but Maricel is also an amazing dramatic actress. My favorite would be her quiet performance in Ishmael Bernal's ensemble drama The Graduates and the romantic drama Hindi Kita Malimot. Aside from the films that Noel mentioned, I loved Lolita Rodriguez in the film Octavia where she co-starred with Carmen Rosales also in Gilda which was re-made into Pasan Ko ang Daigdig starring Sharon Cuneta. She was also unforgettable in Ina Ka Ng Anak Mo, Ina, Kapatid, Anak and Tubog Sa Ginto.
Post by: Noel_Vera on Jan 30, 2009 at 10:40 AM
I forget about the last three films Jojo mentioned. I think of the three she has the most substantial role in Ina Ka ng Anak Mo, as Nora's mother. Ina Ka, incidentally, is legendary film critic Hammi Sotto's favorite Brocka, written by Butch Dalisay. I like it, maybe not as much as Insiang, but that may be because of where I'm coming from (I'm conservative that way)--the fact that Sotto thinks so highly of it suggests I'm missing something, and I'll admit I might be.
She's also pretty good in Jack and Jill, tho I suppose Dolphy is the real life of that party.
Post by: indie boi on Jan 30, 2009 at 11:27 AM
Post by: Noel_Vera on Jan 30, 2009 at 01:38 PM
Actually, I've always considered Ina Ka to be Brocka's Mizoguchi film. Transcendent middle class melodrama.
Post by: indie boi on Jan 30, 2009 at 02:08 PM
Post by: rse on Jan 31, 2009 at 04:08 AM
Post by: yamota on Jan 31, 2009 at 05:26 AM
Post by: keating on Jan 31, 2009 at 11:07 AM
Yung mga iniidolo kong posters dito sa Pinoy Entertaiment, Sir Noel Vera, Sir Keating and Sir Jojo, ano po ba tingin niyo kina Sharon Cuneta. Maricel Soriano and Lolita Rodriguez bilang mga artista? Salamat po ;)
I like Maricel a lot in Bernal's HINUGOT SA LANGIT and yes also in THE GRADUATES. IKAW PA LANG ANG MINAHAL by Carlitos Siguion-Reyna was also worthy. Her comic versatility cannot be ignored in GALAWGAW, INDAY BOTE and JACK EN POY. She was a stand out in the seduction scene in that room with Mark Gil in Gosiengfiao's coming-of-age film UNDERAGE, those eyes, lips and that flawless skin she can be a sex symbol of sort.
Sharon excels in CRYING LADIES and MADRASTA. Sharon cannot be a sex symbol.
Lolita Rodriguez no doubt about it.....she has done classic films already that can stood the test of time. My fave in descending order....TATLO DALAWA ISA, TINIMBANG KA NGUNIT KULANG, INA KA NG ANAK MO and INA KAPATID ANAK.
Post by: Noel_Vera on Feb 01, 2009 at 07:47 PM
"Youre nothing but a 2nd rate trying hard copycat!"
That really needs Cherie Gil's incomparable delivery to complete it. Even with emphasis provided I can only sketch what she accomplished:
"You're nothing but a second-rate, trying hard copy cat!"
Post by: keating on Feb 02, 2009 at 10:40 AM
Post by: halvert on Feb 02, 2009 at 03:38 PM
i remember my grandparents were so afraid of the japanese that they moved to their relatives in pampanga and had my aunt ,who was a teenager then, wear a cap and boys clothes so that she wouldn't catch the eye of the japanese army.
Post by: oggsmoggs on Feb 02, 2009 at 07:06 PM
Post by: Noel_Vera on Feb 08, 2009 at 02:11 PM
The Dardos Award, Asian horror in Rotterdam (http://criticafterdark.blogspot.com/2009/01/blog-this-one-wins-award-festival.html)
The Oscars (http://criticafterdark.blogspot.com/2009/01/and-loser-is.html)
Milk (Gus Van Sant, 2008) (http://criticafterdark.blogspot.com/2009/02/milk-gus-van-sant-2008.html)
Australia (Baz Luhrmann, 2008) (http://criticafterdark.blogspot.com/2009/01/australia-baz-luhrmann-2008.html)
Fly Me to the Moon (Ben Stassen, 2008) (http://criticafterdark.blogspot.com/2009/01/fly-me-to-moon-ben-stansen-2008-link.html)
Post by: keating on Feb 08, 2009 at 02:14 PM
It was an entry to the 1985 MMFF those were the days where the celebrated festival created some gems, masterpieces and classic ones. Celso Ad Castillo at the peak of his prime after dabbling on the skin flicks notably SNAKE SISTERS and VIRGIN PEOPLE assembled a powerhouse cast in this melodramatic film. Lolita Rodriguez heads the cast as a matriarch who owns an inn in the domestic side of the metropolis. Her daughter Vivian Velez also helps her mom in running the place where you can have some booze, girls and gamble all in one place dubbed as the PARADISE INN. Trouble follows when the suitor of Vivian played by Dennis Roldan offered marriage to her.
It was your typical prostitution movie but not glamorized in a Gosiengfiao way. The opening scenes where the credits starts to roll you can already sense that The Kid is not playing with us, the editing done in the fashion style of his masterpiece PAGPUTI NG UWAK, PAGITIM NG TAGAK. What's interesting here are the characters that prey and visit the place. The late Lito Anzures as the alcoholic asst of Lolita, Robert Arevalo as the politician/lover, Armida Siguion Reyna as the feisty wife of the politician, Mary Walter the grandmother of Dennis Roldan, Michael de Mesa and wait there's Jinggoy Estrada as the cohort of Michael. Lensed by Romy Vitug, the long tracking shots are something to behold! The inn at night can be deceiving, haunted and tempting. The sequence where Vivian comes back to the place ascending the stairs is comparable to Rosanna Ortiz ready to settle the final score to Susan Roces in PATAYIN MO SA SINDAK SI BARBARA in the opposite way. The close-up shot of Vivian was full of despair, sadness and sympathy. Yes, the bombshell can act. While Ortiz face terrorized you in a revenge way.
Shot in Lemery, Batangas, Castillo is a true visualist. He draws out great performances from his entire cast and excels also in the technical aspects. Its time to revisit PARADISE INN.
Post by: Klaus Weasley on Feb 08, 2009 at 09:44 PM
Post by: Noel_Vera on Feb 22, 2009 at 02:59 PM
Gran Torino (Clint Eastwood, 2008) (http://criticafterdark.blogspot.com/2009/02/gran-torino-clint-eastwood-2008.html)
Hungry ghosts in Rotterdam (http://criticafterdark.blogspot.com/2009/02/hungry-ghosts-in-rotterdam.html)
Post by: voj on Feb 27, 2009 at 10:34 AM
Sa Ilalim Ng Cogon (2006) - Julia Clarete, Yul Servo, Dido de la Paz - caper, double cross, mystery woman, maligno
SEB, Cyber Game of Love (2008) - Rhane Larrazabal - not bold nor x-rated. Several shorts. I particularly like the ones where the guy courts the girl inside an MMORPG fantasy world game.
Not your usual fare.
Post by: Noel_Vera on Feb 27, 2009 at 02:22 PM
Post by: Elle Nino on Feb 28, 2009 at 01:38 PM
I saw Serbis last night at the New York Film Festival. It's the most repulsive piece of trash I've ever seen. What a waste of talent!
Serbis is playing in San Francisco. I need to see it. I have not read any SF critics review it. Jojo, email kita on my take on the movie
Post by: indie boi on Mar 11, 2009 at 09:15 AM
Post by: Noel_Vera on Mar 11, 2009 at 09:43 AM
Post by: indie boi on Mar 11, 2009 at 09:47 AM
Post by: Noel_Vera on Mar 11, 2009 at 01:05 PM
Post by: keating on Mar 22, 2009 at 01:04 PM
By Bayani San Diego Jr.
Philippine Daily Inquirer
First Posted 01:48:00 03/22/2009
THE LAW that created the Movie and Television Review and Classification Board (MTRCB) should be evaluated again—or junked altogether.
That was Armida Siguion-Reyna—a former board chair—commenting on the row between the MTRCB and the University of the Philippines over permits for film showings.
Armida said the law is clear: “UP doesn’t need permits from the board,” because both “the UP charter and the Constitution protect academic freedom.”
Last month, current censors chief Marissa Laguardia sent a letter to UP president Emerlinda Roman, expressing concern over the “public and commercial exhibition of films at the UP Film [Institute] that have no corresponding permits.”
Armida cited Presidential Decree 1986, the Marcos-era law that created the MTRCB. There are three exemptions to this law, she said: The Cultural Center of the Philippines, foreign embassies and UP.
Not just Diliman
It’s not just Diliman that’s exempted, she said. “Even UP Visayas and UP Los Baños.”
Laguardia differed, saying there’s no law exempting UP and/or CCP.
The fact that tickets are allegedly sold in UP doesn’t make the screenings commercial or public,” Armida insisted. “What if [the organizers] need to raise funds?” As for the embassies, she said, they’re foreign territory and therefore not under the board’s jurisdiction.
Laguardia agreed with this, but noted that films included in festivals sponsored by embassies still pass through the board.
Post by: Noel_Vera on Mar 23, 2009 at 09:15 AM
Post by: keating on Mar 23, 2009 at 07:17 PM
I remember they scrapped the showing of Gosiengfiao's NYMPHA at the Cinema One fest in Mega two years ago. Granted that Sm has no R-18 policy, Cinema One already concede with the deletions of some of the scenes in the film, to make it R-13, but MTRCB was firm in their decision not to show the film at all. They just panicked on Alma.
What can you expect in a film where a person is a nymphomaniac wreaking havoc in a household......?! they thought Alma will sing and dance ala Julie Andrews with the Von Trapp family in SOUND OF MUSIC.
Mothercraper!
Post by: RMN on Apr 01, 2009 at 12:39 AM
Post by: Noel_Vera on Apr 01, 2009 at 05:27 AM
Post by: jdv1229 on Apr 03, 2009 at 05:15 PM
Post by: keating on Apr 04, 2009 at 09:17 AM
HOT PROPERTY may be the man's first foray in the bold bandwagon during the heyday of the ECP flicks along with WHITE SLAVERY.
Post by: Noel_Vera on Apr 04, 2009 at 12:21 PM
Post by: Klaus Weasley on Apr 17, 2009 at 10:47 AM
Post by: rse on Apr 18, 2009 at 02:00 AM
Post by: rse on Apr 18, 2009 at 10:10 AM
Great indie film. Excellently acted, directed, and effectively written. I think that this will be a future Pinoy classic.
Post by: rse on Apr 19, 2009 at 12:52 AM
Well told, great location (showcase for lovely Bukidnon) although why do they have to go to Australia?
Aside from that, it's your typical Star Cinema formula feature.
Post by: keating on Apr 19, 2009 at 09:40 AM
Oro, Plata, Mata (Peque Gallaga) **** - This sprawling over-3-hour epic concerns two upper-class families and the trial, tribulations and horrors they faced during World War II. I can best describe the film as being Gone With The Wind meets Apocalypse Now as family dramas, youth coming-of-age and romance meets the horrors of war. It's a near-flawless piece of work.
ORO PLATA MATA is a stunner everytime I watch it. VIRGIN FOREST Klaus, is a nice companion piece to ORO. Take out the sex scenes, VIRGIN FOREST is even better.
Post by: halvert on Apr 19, 2009 at 08:50 PM
Endoi saw this in an almost empty theater in glorietta...i loved it! is it already available on dvd?
Great indie film. Excellently acted, directed, and effectively written. I think that this will be a future Pinoy classic.
Post by: filgoods on Apr 23, 2009 at 12:54 PM
That really needs Cherie Gil's incomparable delivery to complete it. Even with emphasis provided I can only sketch what she accomplished:
"You're nothing but a second-rate, trying hard copy cat!"
Is it me or is this Filipino movie quote overly used?
Post by: Noel_Vera on Apr 23, 2009 at 01:16 PM
That said, it could use a little rest, to retain potency.
How about Ms. Saigon's most memorable line? "Sorry, ha, if I'm not perfeck!"
Well, it's been years. If someone knows the exact quote, I'd love to hear it again. I just remember that final 'eck-eck'...
Post by: oggsmoggs on Apr 29, 2009 at 06:09 PM
Post by: rse on May 01, 2009 at 01:02 AM
Big Time (Mario Cornejo, 2005) (http://oggsmoggs.blogspot.com/2009/04/big-time-2005.html)
I agree Big Time is a lot of fun! One of the better indie films around.
Post by: Noel_Vera on May 01, 2009 at 10:00 AM
Post by: keating on May 03, 2009 at 01:39 PM
The late master filmmaker's most meditative piece on life and death set in a dying fishing village where the waters are polluted and the folks are not fine. It finally took me second viewing to appreciate it, league and line it up along with MANILA BY NIGHT, HIMALA & HINUGOT SA LANGIT. And yes, the film could start a violent dispute regarding art and aesthetics.
The passionate romantic liaisons between the two seductive barrio lasses Elizabeth Oropesa & Daria Ramirez and the man between them, the local stud George Estregan, the religious services, the midwives, the whirring sounds of motorboats' engines........Bernal still finds life. Done in collaboration with scriptwriter Jorge Arago, Bernal's real-life soulmate, this could be possibly his purest cinema, quiet, experimental, intelligent and cinematically speaking.
Post by: rse on May 07, 2009 at 11:05 PM
Post by: Noel_Vera on May 08, 2009 at 11:50 AM
Just saw Ishmael Bernal's Lumapit Lumayo ang Umaga. This is a great movie. A great melodrama, but without the usual hysterics, it's very quiet. Excellently acted, written and directed. One of Bernal's bests.
Which one is that again? I forget.
Post by: rse on May 09, 2009 at 03:44 AM
Which one is that again?
Which one is that again? I forget.
It's the one with Elizabeth Oropesa, George Estregan and Dante Rivero. It about a young girl who fell in love with a stranger (with a past). They fell in love, got married but he just "disappeared" one day. She then re-marries to a persistent suitor...and of course her original husband returned. It doesn't sound very interesting but it is. Really...
I think that it's based on a Liwayway serials.
Post by: Noel_Vera on May 09, 2009 at 08:55 AM
Post by: Noel_Vera on May 10, 2009 at 01:46 AM
Sherad Anthony Sanchez's Imburnal wins Woosuk and NETPAC Awards in Jeonju (http://criticafterdark.blogspot.com/2009/05/sherad-anthony-sanchezs-imburnal-wins.html)
Philippine Customs blocking imported books (http://criticafterdark.blogspot.com/2009/05/philippine-customs-chokes-intellectual.html)
Sansho the Bailiff; Come Drink With Me; James Gray's Two Lovers (http://criticafterdark.blogspot.com/2009/05/sansho-bailiff-come-drink-with-me-two.html)
JG Ballard, Philip Jose Farmer, Jack Cardiff (http://criticafterdark.blogspot.com/2009/04/too-twisted-titans-and-unforgettable.html)
Slumdog Millionaire (http://criticafterdark.blogspot.com/2009/04/slumdog-millionaire-danny-boyle-2009.html)
Post by: keating on May 10, 2009 at 08:11 AM
This got to be The Kid's low-average film not really mediocre but definitely not in the league of ISLA, SNAKE SISTERS & VIRGIN PEOPLE. Next on my watch lists........CLIMAX & KULANG SA DILIG. ;D
Post by: oggsmoggs on May 14, 2009 at 12:55 AM
Post by: rse on May 17, 2009 at 01:56 AM
It's an impressive achievement for a first-feature. It reminded me of Rocco and his Brothers and Days of Heaven. It needs a second edit though...Still it's a well-made socio-political melodrama.
Post by: keating on May 17, 2009 at 08:01 AM
The casting was so impressive, though. I'm currently tracking Cervantes' pito-pito film......MASIKIP, MASAKIT, MAHAPDI which was a trilogy based on a play.
Post by: marj on May 17, 2009 at 12:29 PM
When I saw SAKADA again recently, it loss its power to me. I don't know but time is really the main measurement/arbiter in watching films.
The casting was so impressive, though. I'm currently tracking Cervantes' pito-pito film......MASIKIP, MASAKIT, MAHAPDI which was a trilogy based on a play.
MASIKIP, MASAKIT, MAHAPDI is a trilogy based on three Alberto Florentino one-act plays.
Post by: rse on May 17, 2009 at 03:11 PM
When I saw SAKADA again recently, it loss its power to me. I don't know but time is really the main measurement/arbiter in watching films.
The casting was so impressive, though. I'm currently tracking Cervantes' pito-pito film......MASIKIP, MASAKIT, MAHAPDI which was a trilogy based on a play.
I've seen Masikip, Masakit, Mahapdi. I think that it's a well-made movie. There are interesting things in it..
Post by: keating on May 17, 2009 at 03:23 PM
Thanks for the info also, marj.
Post by: Noel_Vera on May 17, 2009 at 04:41 PM
Not a big fan of Cervats' film, either. One real sarcastic wag titled his pan of it "Painful, painful, painful."
Post by: wedge on May 22, 2009 at 01:12 PM
I missed that one during the filmfest at Sm Megamall, rse. I was able to caught Jeturian's SANA PAG-IBIG NA & Lav's KRIMINAL NG BARYO CONCEPCION.
Thanks for the info also, marj.
Baryo Concepcion is unconventional Lav Diaz, methinks. Straightforward and minus all what is now-Lav Diaz.
Post by: Noel_Vera on May 22, 2009 at 01:37 PM
So is Hesus, come to think of it, only there the result is more integral, happier.
Post by: rse on May 23, 2009 at 03:24 PM
Post by: keating on May 24, 2009 at 06:32 AM
Post by: Noel_Vera on May 24, 2009 at 01:59 PM
But the real inspiration for Kriminal was Crime and Punishment. Lav is fascinated by Dostoevsky.
Post by: rse on May 31, 2009 at 03:00 AM
Bought the DVD. The transfer is good for its age, there are a lot of vertical lines but it's very watchable and the audio is good. I suspect that it's missing some scenes.
It's actually an interesting movie, although the title is misleading. The adultery/trial bit is just a minor part of the film (and the least interesting). I was a bit confused at first, I thought that Philip and Vilma are not married. The only scene that hinted it was that when Philip was asking Vilma to marry her. No wedding ceremony.
Not one of Brocka's bests but it's well acted and well photographed.
Post by: Noel_Vera on Jun 01, 2009 at 09:38 AM
Post by: rse on Jun 02, 2009 at 12:56 AM
Post by: rse on Jun 02, 2009 at 02:06 AM
Post by: keating on Jun 03, 2009 at 08:59 AM
"It was the transition of my life as an actress. I said to Mario, I can't do it! Mario said to me, Tita Glo its about time! And I still remember the burning of the dollars by Nora on that movie."
Post by: Noel_Vera on Jun 03, 2009 at 09:13 AM
Post by: oggsmoggs on Jun 04, 2009 at 11:07 AM
Post by: Krenn on Jun 12, 2009 at 12:18 AM
Post by: rse on Jun 12, 2009 at 03:47 AM
Post by: Noel_Vera on Jun 12, 2009 at 05:49 AM
Foster Child's pretty good, not his best, but pretty good.
Post by: northern portrait on Jun 19, 2009 at 01:01 PM
Independencia (Raya Martin, 2009) (http://cinefilipinas.blogspot.com/2009/06/independencia-raya-martin-2009.html)
Post by: Klaus Weasley on Jun 20, 2009 at 01:33 PM
Working Girl has nothing to do with Working Girls. And I much prefer Bernal's film
Is that available on DVD? I remember laughing my ass off when I saw it the first time long ago.
Post by: Noel_Vera on Jun 20, 2009 at 03:27 PM
Post by: halvert on Jun 21, 2009 at 03:20 PM
Post by: Noel_Vera on Jun 21, 2009 at 04:51 PM
Post by: keating on Jun 22, 2009 at 07:25 AM
The sequel was not as funny as the original though.
Post by: Noel_Vera on Jun 23, 2009 at 06:27 AM
Post by: keating on Jun 27, 2009 at 02:10 PM
Burden with a traumatic childhood past, the body of Nympha Monteverde played to perfection by Gosiengfiao muse Alma Moreno, was found in the mountains after she escaped from the convent and had mass sex by dozen campers. The rescue operations led by Ella Luansing the nun, a brilliant thespian. Alma was gang-bang with her consent landed on the hospital after the rescue operations with raptured vagina but the doctor tells it will heal. That childhood past resulted to a different kind of sickness, not promiscuity but nymphomania where she just shake and perspires whenever she sees a man. In his most daring and perverse work tucked in his filmography, MTRCB Chairman Laguardia slapped the film with an X rating at the Cinema One film fest 3 years ago.....the camp master created a world not only infuse with camp, black humor and wicked thoughts that combines Almodovar & Bunuel in one. And for pure laughs check out or spot the influence from Hitchcock's VERTIGO & GONE WITH THE WIND. Rosemarie Gil as the stepmother was at her usual elan flair and almost eclipsed Alma and had a tryst with Ricky Belmonte. The Gosiengfiao veterans Deborah Sun in a restrained performance, Orestes Ojeda, Ed Villapol, Sandy Garcia and the late Alfie Anido were at their usual best. With all the sexual innuendos thrown in, this camp opus should not be confused with Castillo's NYMPHA released during the 70's. But it was still Alma Moreno that stood out, the body and face that could launched a thousand ships. With classic lines that can make Andy Warhol proud.....kung masakit ang daliri ko, puede ko putulin, paano ko puputulin ito? Alma cries! Baka tuhugin mo lahat ng muchacho dito, his father shipping magnate Johnny Wilson shout to Alma! Alma makes a dramatic entrance to a party thrown by her stepmother, Rosemarie Gil....."kumusta ka na hija? Nympha shouts with proud....eto, stepmother, ni-rape ng sandaang lalake! Hind lang apoy ang nilalamon ko kundi laman....Alma tells carnival fire-eater Alfie Anido. In order to avoid spoilers, will Alma be cured of her sickness, be a normal woman and have a family in the future? Catch this Gosiengfiao opus on the archive of Cinema One.
Post by: Qoheleth on Jun 28, 2009 at 12:37 PM
This whole month of July 2009
Mondays to Saturdays
Screenings start at 5:30 pm
Mag:Net Cafe Katipunan (beside Rustan's Supermarket, in front of Miriam College)
Tel # 929.3191
CALENDAR.MOV
July 1 Wed: BURLESK QUEEN (1977): Celso Ad Castillo
July 2 Thu: TATLONG MUKHA NI ROSA VILMA (1972): Romy Suzara
July 3 Fri: GANITO KAMI NOON… PAANO KAYO NGAYON? (1976): Eddie Romero
July 4 Sat: ORO PLATA MATA (1982): Peque Gallaga
July 6 Mon: TATLONG TAONG WALANG DIYOS (1976): Mario O’Hara
July 7 Tue: SAKADA (1976): Behn Cervantes
July 8 Wed: BATCH ’81 (1982): Mike De Leon
July 9 Thu: MINSA’Y ISANG GAMUGAMO (1976): Lupita Kashiwahara
July 10 Fri: PERFUMED NIGHTMARE (1977): Kidlat Tahimik
July 11 Sat: HIGH SCHOOL CIRCA ’65 (1979): Maryo J Delos Reyes
July 13 Mon: DIARY OF CRISTINA GASTON (1982): Joey Gosiengfiao
July 14 Tue: BLUE JEANS (1981): Joey Gosiengfiao
July 15 Wed: BATA PA SI SABEL (1981): Joey Gosiengfiao
July 16 Thu: KATORSE (1980): Joey Gosiengfiao
July 17 Fri: BOMBA STAR (1980): Joey Gosiengfiao
July 18 Sat: TEMPTATION ISLAND (1980): Joey Gosiengfiao
July 20 Mon: SALOME (1981): Laurice Guillen
July 21 Tue: KARNAL (1983): Marilou Diaz-Abaya
July 22 Wed: SINNER OR SAINT (1984): Mel Chionglo
July 23 Thu: BOATMAN (1984): Tikoy Aguiluz
July 24 Fri: KISAPMATA (1982): Mike De Leon
July 25 Sat: MISTERYO SA TUWA (1984): Abbo Dela Cruz
July 27 Mon: SILIP (1985): Elwood Perez
July 28 Tue: SCORPIO NIGHTS (1985): Peque Gallaga
July 29 Wed: HINUGOT SA LANGIT (1985): Ishmael Bernal
July 30 Thu: PRIVATE SHOW (1986): Chito Rono
July 31 Fri: PAGPUTI NG UWAK, PAG-ITIM NG TAGAK (1978): Celso Ad Castillo
Post by: northern portrait on Jun 29, 2009 at 12:02 AM
Next Attraction (Raya Martin, 2008) (http://cinefilipinas.blogspot.com/2009/06/next-attraction-raya-martin-2008.html)
Post by: halvert on Jun 29, 2009 at 02:35 PM
My main problem is that they seem to have confused encantos with aswangs. Here, if you look into the eyes of an encanto, the image you see is upside down. But as far as i know, encantos are beautiful people who don't have that indention between the nose and the mouth. Also in T2, encantos can be vanquished by throwing salt at them. But that's what herbert bautista used for anaswang in the manananggal episode of Shake rattle and roll part 1. In T2, encantos turn into black boars, alien wall-crawlers and green-gray skinned people in 19th century clothes.And why does their kingdom look like Hong Kong Disneyland?
I think Chito Rono wanted a mysterious film about encantos but maybe Star Cinema wanted a horror film like Feng Shui.
I would have been satisfied with the original ending but they had to add that "scary" ending that left me more frustrated than spooked.
A better movie about encantos can be seen on Cinema one. It's a 1981 movie called Kamakalawa starring Christopher de Leon and Tetchie Agbayani. There, the encantos are seductive and playful but not really evil.
Post by: Alfie on Jun 29, 2009 at 02:41 PM
(any format but prefebly DVD)
I think it's one of the not so mentioned Lino Brocka Films.
Thanks to anyone who will respond.
Post by: northern portrait on Jun 29, 2009 at 06:23 PM
Help...where can I get a copy of Jaguar ?
(any format but prefebly DVD)
I think it's one of the not so mentioned Lino Brocka Films.
Thanks to anyone who will respond.
video48 at 48 west avenue
Post by: oggsmoggs on Jun 30, 2009 at 12:46 AM
Post by: keating on Jul 12, 2009 at 07:53 PM
I'm wondering also why it didn't get any single award from last year's Cinemalaya. Its the underdog and demands to be seen again on the big screen. With only a modest resources, Michael Bay's PEARL HARBOR will really look stupid compared to this one.
Post by: oggsmoggs on Jul 12, 2009 at 11:56 PM
Post by: halvert on Jul 13, 2009 at 03:41 PM
Just finished watching Paul Morales' CONCERTO. I was quite impressed on the execution of the bombing scenes, the aerial shots and the much-talked about exodus scene. Yes its powerful but only time will tell 10 years from now if it will be on the league of Gallaga's ORO PLATA MATA & O'hara's TATLONG TAONG WALANG DIYOS.is it available on dvd? i'd heard good things about this and regretted not watching it.
I'm wondering also why it didn't get any single award from last year's Cinemalaya. Its the underdog and demands to be seen again on the big screen. With only a modest resources, Michael Bay's PEARL HARBOR will really look stupid compared to this one.
Post by: DaSilva on Jul 14, 2009 at 10:23 AM
Are there other strong combinations of great Pinoy movie + great Pinoy theme song out there?
Post by: voj on Jul 14, 2009 at 10:32 AM
just watched Kung Mahawi Man Ang Ulap.
Are there other strong combinations of great Pinoy movie + great Pinoy theme song out there?
mike de leon's "kung mangarap ka't magising.
Freddie Aguilar's "Anak" in the Vilma starrer
Aiza Seguerra's "Pagdating ng Panahon" (tama ba?)
Post by: Noel_Vera on Jul 14, 2009 at 12:31 PM
You should hear it performed live, however, on a karaoke mike, by the film's writer. Talk about smokin. ;D
Post by: oggsmoggs on Jul 14, 2009 at 12:37 PM
Post by: R2 on Jul 14, 2009 at 08:15 PM
Mind you,this topic should be on a separate thread,I think.
Post by: DaSilva on Jul 15, 2009 at 11:15 AM
MODS: R2 has a good suggestion, to spin this off into a new thread. Thanks.
Post by: Noel_Vera on Jul 15, 2009 at 01:36 PM
Post by: X44 on Jul 15, 2009 at 04:10 PM
Post by: oggsmoggs on Jul 15, 2009 at 04:52 PM
Noel, you got me excited.
The films I'm looking forward to are Jerrold Tarog's Mangatyanan and Alvin Yapan's Ang Panggagahasa kay Fe.
Post by: Noel_Vera on Jul 16, 2009 at 05:46 AM
Maybe I should downplay expectations (it stinks! Stay away!)
Post by: Krenn on Jul 19, 2009 at 04:12 PM
Dun sa ending ng Hellow Soldier, totoo bang nakita ni Anita Linda si Hilda Koronel (meaning hindi sya sumama sa tatay nyang kano)? Or dream sequence lang yun dahil sa kalasingan nya? Please answer po. Thanks!
Ang tingin ko kasi parang dream sequence lang sya, or I can be wrong.
Post by: Noel_Vera on Jul 20, 2009 at 05:43 AM
But that's an interesting interpretation. Wonder why no one's thought of it before. Or thought of it and wrote about it.
Post by: oggsmoggs on Jul 20, 2009 at 05:52 PM
Post by: northern portrait on Jul 23, 2009 at 12:05 AM
Engkwentro (Pepe Diokno, 2009) (http://cinefilipinas.blogspot.com/2009/07/engkwentro-pepe-diokno-2009.html)
Post by: oggsmoggs on Jul 23, 2009 at 02:14 AM
Post by: rse on Jul 26, 2009 at 12:56 PM
Finally, I was able to see this movie. What can I say? It's definitely an acquired taste. This movie is quite strange, I don't now if I like it. It's one of those movies that I can only see once. I admire it's outrageousness though and its wit.
Post by: Noel_Vera on Jul 26, 2009 at 02:39 PM
Post by: rse on Jul 26, 2009 at 04:09 PM
How does it compare to Almodovar, tho?
I haven't seen an Almodovar that's as outrageous and experimental. Most of the Almodovar's that I've seen are mostly flamboyant melodramas. I think Bomba Star has a more "conventional" Almodovar feel.
Post by: Noel_Vera on Jul 26, 2009 at 04:51 PM
Post by: oggsmoggs on Jul 26, 2009 at 06:25 PM
Post by: rse on Jul 27, 2009 at 12:07 AM
http://www.kabayancentral.com/video/others/cpotsantiago.html
Post by: northern portrait on Jul 28, 2009 at 12:24 AM
Colorum (Jon Steffan Ballesteros, 2009) (http://cinefilipinas.blogspot.com/2009/07/colorum-jon-steffan-ballesteros-2009.html)
Post by: rse on Jul 28, 2009 at 01:01 AM
http://now.abs-cbn.com/moviedetails.aspx?epid=56610
...also his Pinakamagandang Hayop sa Balat ng Lupa:
http://now.abs-cbn.com/moviedetails.aspx?epid=51187
Post by: oggsmoggs on Jul 28, 2009 at 04:47 PM
Post by: keating on Jul 29, 2009 at 09:51 AM
Post by: technosprite on Jul 29, 2009 at 10:34 PM
Just finished watching Luis Nepomuceno's IGOROTA last weekend. I can conclude now that the late Charito Solis is the most versatile among her contemporaries. Her topless scenes were not the exploitative type. More thoughts later.......
in one of her last interviews, the late charito solis mentioned that "igorota" was screened at the berlin filmfest. can anyone verify this?
her excellent histrionics topped by her daring topless scene was quite justified.
Post by: northern portrait on Jul 31, 2009 at 01:12 AM
Ang Nerseri (Vic Acedillo Jr., 2009) (http://cinefilipinas.blogspot.com/2009/07/ang-nerseri-vic-acedillo-jr-2009.html)
Post by: oggsmoggs on Jul 31, 2009 at 05:10 PM
Post by: keating on Aug 01, 2009 at 12:27 PM
in one of her last interviews, the late charito solis mentioned that "igorota" was screened at the berlin filmfest. can anyone verify this?
I'm still confirming about this.
her excellent histrionics topped by her daring topless scene was quite justified.
Agree.....I even let my niece and nephew watch the film in its full integral version. There's nothing to cut a about those scenes. It was artistically and tastefully done.
Post by: technosprite on Aug 02, 2009 at 01:00 PM
Agree.....I even let my niece and nephew watch the film in its full integral version. There's nothing to cut a about those scenes. It was artistically and tastefully done.
it's among the few films and performances of charito that i really like. (she was great in "kisapmata" and "karnal" and was in fine form in "malvarosa." i have yet to see her in "el filibusterismo" and "kundiman ng lahi.") anyway, i wonder why luis nepomuceno stopped producing and directing films? i think in terms of storytelling, his style is akin to that of carlitos.
Post by: oggsmoggs on Aug 02, 2009 at 11:57 PM
Post by: oggsmoggs on Aug 05, 2009 at 12:36 AM
Post by: marj on Aug 06, 2009 at 06:54 AM
anyway, i wonder why luis nepomuceno stopped producing and directing films?
I think it was financial. Most of his films did not make money.
Post by: oggsmoggs on Aug 07, 2009 at 12:42 AM
Post by: northern portrait on Aug 08, 2009 at 07:01 PM
Ang Panggagahasa kay Fe (Alvin Yapan, 2009) (http://cinefilipinas.blogspot.com/2009/08/ang-panggagahasa-kay-fe-alvin-yapan.html)
Post by: keating on Aug 13, 2009 at 05:43 PM
Author: Elyas Isabelo Salanga
Regal Films producer and matriarch Mother Lily Monteverde is probably John Lapus's biggest guest so far to get strapped in a lie detector seat in an attempt to keep a perfect score on Showbiz Central's "Don't Lie to Me" segment.
Accompanying Mother Lily-though of course sitting on a more comfortable seat-are some of her younger Regal Babies: Mart Escudero, Kris Bernal, TJ Trinidad, and Dennis Trillo.
Without further ado, John proceeded on asking the juicy questions for Mother Lily. The first question was this: Rio Locsin, Dina Bonnevie, and Snooky Serna have all wore a "magic kamison." Many people are asking now if Mother Lily owned that iconic kamison that she had her leading ladies wear in their movies.
"No," Mother Lily smiled. As it turned out, the machine churned out a "Truth." After the result, the boggled John couldn't help but ask why Mother Lily always lets her actresses wear a kamison.
"It's very lucky, that kamison," Mother Lily said. When asked if she has her own magic kamison, she laughed and answered, "Yes!"
The next question came from one of Mother Lily's Regal babies, William Martinez. He asked through video feed, "Totoo nga ba na kami raw ni Maricel Soriano ang favorite mo noon as a love team?"
"No," Mother Lily quickly answered. As the result to Mother's answer showed a "Lie," John exclaimes and dances to the beat while Mother laughed, clearly enjoying John's dance moves. When asked to explain her side, Mother simply admitted that she lied on purpose. It seems like Mother Lily lied on purpose just to see John dance. The Maricel-William love team was in fact, her favorite.
The moderate level of John's questioning lived up to its name as John gave out a rather sensitive yet funny question. "Mother," John said, "tuwing nag-aaway daw kayo ni Alfie Lorenzo ay nagbabatuhan daw kayo ng sandok. At kapag nagagalit ka daw ay mahilig ka na magbato naman ng cellphone. Mahilig ka ba mangbato ng gamit tuwing magagalit ka?"
"No," Mother Liliy answered.
The lie detector seemed to trace a wee bit of pressure on Mother Lily's part as it gave out a "Lie." Mother could only laugh as John once again danced to the beat. This time, Mother didn't look as amused as before. When asked on what she had thrown so far, Mother just said, "I'm very sweet, wala."
"Sa mga Regal babies," John asked, looking at Dennis' direction, "kayo ba ay nabato na ni Mother?"
"Ako, hindi pa ako nakakakita ng ganoon," Dennis said. "May naririnig ako pero ayoko maniwala hangga't 'di ko nakikita, siyempre."
Mart agreed. "Sa akin, wala pa. Sa tagal ng pinagsamahan namin, e, wala pa."
"Wala rin. Mabait si Mother," Kris added. "'Pag sa taping namin patient si Mother."
Since John got good feedback from the Regal Babies, he turned to Mother Lily and asked if she threw stuff on her staff. "No," answered Mother Lily.
The next question was quite an easy one for Mother Lily. John asked, "Was there ever a time na naging sakit ng ulo mo si Snooky Serna?"
"Yes," Mother said without hesitation. As it turned out, the machine agreed. When asked why, she explained by saying that Snooky had many problems during her time. When asked if Mother would still cast Snooky on future films, Mother again without hesitation, answered a "Yes."
Moving on to the difficult part of the question, John asked, "Mother, binabayaran mo daw sina Tito Alfie Lorenzo at Manay Lolit Solis ng 100 pesos noong araw para sundan ang iyong mister at tignan kung nangbababae ito. Don't lie to me, yes or no?"
There was short pause before Mother could give out a "No." That short pause may have given her away as the lie detector once again gave out a "Lie." Mother could only smile and laugh as John once again dance to the beat of Mother's blunder. When John asked on whether Lolit and Alfie found anything on their "investigation", Mother again slipped by saying, "Wala naman."
The next question came from Judy Ann Santos via video feed. She asked, "Mother, mayroon na po ba kayong nakasamaan ng loob na talent manager?"
"Yes," Mother calmly answered.
As the lie detector gave out a "Truth," Mother proceeded to share on who that manager was.
It turned out to be Becky Aguila.
Why was she mad at Becky?
"I got hurt," Mother explained. "She lied. I am inviting her to have this lie detector."
Next question was, "Totoo ba na laging postdated or delayed ang binabayad mong tseke sa artista mo?"
"Yes," the honest Mother Lily said. As the machine agreed, Mother explained that the times are hard. "I try to move the industry alive. That is the reason why after the shooting, that's the time I pay them."
The Now or Never question came from Alfie Lorenzo. He asked, "Mother, mas galante ka daw sa mga artista kaysa sa mga anak mo? Yes or no?"
"Yes," a teary-eyed Mother said. When the machine agreed to her answer, she added, "Of course, when I produce a movie, I have to sacrifice my family. The priority is the stars."
Overcome with emotion, she paused for a few moments to regain her composure. After sensing that she was ready again to speak, John asked, "Na-explain mo na sa kanila kung bakit kailangang mas maging galante sa artista kaysa sa kanila?"
"Of course now they realize that I give the stars priority," Mother said. As it turned out, her children grew up to be producers as well. For a mother, she was proud for her children. She added, "I am proud of them because they followed my footsteps. I always teach them to be honest and accept things."
HURT OVER Becky Aguila. After the segment was done, Mother Lily wished to give some advice to managers out there. She said, "Well in my entire life, for the past 48 years that I have experienced so many things in my life. Na-feel ko na sometimes I get hurt and sometimes I also have differences with others but my stars are with me. It's not forever because I want them to grow far, far, farther like Angel Locsin."
As she mentioned the name Angel Locsin, silence followed as everyone, including John, waited for Mother's speech to progress.
"I don't want to sue her anymore," Mother calmly said. "Because she is very innocent in this issue. But the only thing I advise to all managers is to be honest."
As Mother again became emotional with her words, she added, "Honesty is the best policy in life. Ever since in my life-I am seventy-I've been working very hard. But one thing I really get hurt is a manager who tells a lie. Even the lawyer tells a lie because she was with me talking about the schedule with Angel. All of the sudden she [Becky] turned her back and said that she is not exclusive with me."
As John moved in to politely cut-off Mother Lily's words with a praise, Mother gave a metaphorical last message. She said, "Deep in my heart, the father of Gabby [Concepcion] gave me a diamond ring."
"And he said to me, 'Diamonds are forever.'"
;D
Post by: rse on Aug 14, 2009 at 12:42 AM
Mother Lily Monteverde produces honest results in "Don't Lie to Me"
Author: Elyas Isabelo Salanga
Regal Films producer and matriarch Mother Lily Monteverde is probably John Lapus's biggest guest so far to get strapped in a lie detector seat in an attempt to keep a perfect score on Showbiz Central's "Don't Lie to Me" segment.
Accompanying Mother Lily-though of course sitting on a more comfortable seat-are some of her younger Regal Babies: Mart Escudero, Kris Bernal, TJ Trinidad, and Dennis Trillo.
Without further ado, John proceeded on asking the juicy questions for Mother Lily. The first question was this: Rio Locsin, Dina Bonnevie, and Snooky Serna have all wore a "magic kamison." Many people are asking now if Mother Lily owned that iconic kamison that she had her leading ladies wear in their movies.
"No," Mother Lily smiled. As it turned out, the machine churned out a "Truth." After the result, the boggled John couldn't help but ask why Mother Lily always lets her actresses wear a kamison.
"It's very lucky, that kamison," Mother Lily said. When asked if she has her own magic kamison, she laughed and answered, "Yes!"
The next question came from one of Mother Lily's Regal babies, William Martinez. He asked through video feed, "Totoo nga ba na kami raw ni Maricel Soriano ang favorite mo noon as a love team?"
"No," Mother Lily quickly answered. As the result to Mother's answer showed a "Lie," John exclaimes and dances to the beat while Mother laughed, clearly enjoying John's dance moves. When asked to explain her side, Mother simply admitted that she lied on purpose. It seems like Mother Lily lied on purpose just to see John dance. The Maricel-William love team was in fact, her favorite.
The moderate level of John's questioning lived up to its name as John gave out a rather sensitive yet funny question. "Mother," John said, "tuwing nag-aaway daw kayo ni Alfie Lorenzo ay nagbabatuhan daw kayo ng sandok. At kapag nagagalit ka daw ay mahilig ka na magbato naman ng cellphone. Mahilig ka ba mangbato ng gamit tuwing magagalit ka?"
"No," Mother Liliy answered.
The lie detector seemed to trace a wee bit of pressure on Mother Lily's part as it gave out a "Lie." Mother could only laugh as John once again danced to the beat. This time, Mother didn't look as amused as before. When asked on what she had thrown so far, Mother just said, "I'm very sweet, wala."
"Sa mga Regal babies," John asked, looking at Dennis' direction, "kayo ba ay nabato na ni Mother?"
"Ako, hindi pa ako nakakakita ng ganoon," Dennis said. "May naririnig ako pero ayoko maniwala hangga't 'di ko nakikita, siyempre."
Mart agreed. "Sa akin, wala pa. Sa tagal ng pinagsamahan namin, e, wala pa."
"Wala rin. Mabait si Mother," Kris added. "'Pag sa taping namin patient si Mother."
Since John got good feedback from the Regal Babies, he turned to Mother Lily and asked if she threw stuff on her staff. "No," answered Mother Lily.
The next question was quite an easy one for Mother Lily. John asked, "Was there ever a time na naging sakit ng ulo mo si Snooky Serna?"
"Yes," Mother said without hesitation. As it turned out, the machine agreed. When asked why, she explained by saying that Snooky had many problems during her time. When asked if Mother would still cast Snooky on future films, Mother again without hesitation, answered a "Yes."
Moving on to the difficult part of the question, John asked, "Mother, binabayaran mo daw sina Tito Alfie Lorenzo at Manay Lolit Solis ng 100 pesos noong araw para sundan ang iyong mister at tignan kung nangbababae ito. Don't lie to me, yes or no?"
There was short pause before Mother could give out a "No." That short pause may have given her away as the lie detector once again gave out a "Lie." Mother could only smile and laugh as John once again dance to the beat of Mother's blunder. When John asked on whether Lolit and Alfie found anything on their "investigation", Mother again slipped by saying, "Wala naman."
The next question came from Judy Ann Santos via video feed. She asked, "Mother, mayroon na po ba kayong nakasamaan ng loob na talent manager?"
"Yes," Mother calmly answered.
As the lie detector gave out a "Truth," Mother proceeded to share on who that manager was.
It turned out to be Becky Aguila.
Why was she mad at Becky?
"I got hurt," Mother explained. "She lied. I am inviting her to have this lie detector."
Next question was, "Totoo ba na laging postdated or delayed ang binabayad mong tseke sa artista mo?"
"Yes," the honest Mother Lily said. As the machine agreed, Mother explained that the times are hard. "I try to move the industry alive. That is the reason why after the shooting, that's the time I pay them."
The Now or Never question came from Alfie Lorenzo. He asked, "Mother, mas galante ka daw sa mga artista kaysa sa mga anak mo? Yes or no?"
"Yes," a teary-eyed Mother said. When the machine agreed to her answer, she added, "Of course, when I produce a movie, I have to sacrifice my family. The priority is the stars."
Overcome with emotion, she paused for a few moments to regain her composure. After sensing that she was ready again to speak, John asked, "Na-explain mo na sa kanila kung bakit kailangang mas maging galante sa artista kaysa sa kanila?"
"Of course now they realize that I give the stars priority," Mother said. As it turned out, her children grew up to be producers as well. For a mother, she was proud for her children. She added, "I am proud of them because they followed my footsteps. I always teach them to be honest and accept things."
HURT OVER Becky Aguila. After the segment was done, Mother Lily wished to give some advice to managers out there. She said, "Well in my entire life, for the past 48 years that I have experienced so many things in my life. Na-feel ko na sometimes I get hurt and sometimes I also have differences with others but my stars are with me. It's not forever because I want them to grow far, far, farther like Angel Locsin."
As she mentioned the name Angel Locsin, silence followed as everyone, including John, waited for Mother's speech to progress.
"I don't want to sue her anymore," Mother calmly said. "Because she is very innocent in this issue. But the only thing I advise to all managers is to be honest."
As Mother again became emotional with her words, she added, "Honesty is the best policy in life. Ever since in my life-I am seventy-I've been working very hard. But one thing I really get hurt is a manager who tells a lie. Even the lawyer tells a lie because she was with me talking about the schedule with Angel. All of the sudden she [Becky] turned her back and said that she is not exclusive with me."
As John moved in to politely cut-off Mother Lily's words with a praise, Mother gave a metaphorical last message. She said, "Deep in my heart, the father of Gabby [Concepcion] gave me a diamond ring."
"And he said to me, 'Diamonds are forever.'"
;D
This is a nice read.
Post by: oggsmoggs on Aug 14, 2009 at 02:03 AM
Post by: keating on Aug 14, 2009 at 05:34 PM
She's a bit crazy and her life is one for the books! ;D
Post by: keating on Aug 16, 2009 at 09:47 AM
The late Charito Solis is the most versatile actress among her contemporaries. In the late 60's she starred in one of Nepomuceno Productions big budget film IGOROTA. Set on the mountains in Banaue Rice Terraces, she was a barrio lass who fall in love with a man from the city. The film was not easy to make, big, glossy, expensive, colorful melodrama that you miss now watching on the theatres. You get to see also the breathtaking views on the countryside that our country has to offer. Rich in cultural heritage, aside from baring her breasts as a mountain maiden, Solis blew me away! She was mocked, ridiculed and humiliated by the people from the city when she got married to Ric Rodrigo as her husband. The soaring musical score of Tito Arevalo in this film is a joy to hear. Behold the stunning cinematography of Ricardo Remias. The fight scenes were executed in a real manner. Too bad that most of the cast were already deceased aside from the late Charito Solis to Ric Rodrigo, Mario Montenegro and the production people behind the scenes.
Charito Solis may be forgotten but she left us a body of work impossible to forget. She played a Korean/Japanese woman in ULILANG BITUIN, has-been-actress brutalized in gang rape in ANGUSTIA, a mother who wants to change her past in
MANILA BY NIGHT, a spinster who narrates the dark story of her family in KARNAL. And a spate of classic films KUNDIMAN NG LAHI, MALVAROSA, EMILY, EL FILIBUSTERISMO, INA KAPATID ANAK, KISAPMATA & HINUGOT SA LANGIT.
Post by: oggsmoggs on Aug 17, 2009 at 08:41 PM
Post by: northern portrait on Aug 19, 2009 at 09:48 PM
Last Supper No. 3 (Veronica Velasco, 2009) (http://cinefilipinas.blogspot.com/2009/08/last-supper-no-3-veronica-velasco-2009.html)
Post by: Noel_Vera on Aug 19, 2009 at 10:14 PM
Gay men as oppressed? I'd agree with the filmmakers this much, that it's not quite tired or irrelevant yet. Was Winston gay? That could be another factor.
Good stuff, especially the last part. Law touches all of us in all kinds of ways--oggs studied law (are you practicing?), I was in prelaw, and had seen (or sat through) many a Filipino movie court drama, and you had your mom.
Post by: oggsmoggs on Aug 19, 2009 at 10:45 PM
Have you seen Welles' adaptation of Kafka? Shoulda thrown that in in my own article, that courthouse looks like the Gare d'Orsay, smaller and more Malay of course.
Gay men as oppressed? I'd agree with the filmmakers this much, that it's not quite tired or irrelevant yet. Was Winston gay? That could be another factor.
Good stuff, especially the last part. Law touches all of us in all kinds of ways--oggs studied law (are you practicing?), I was in prelaw, and had seen (or sat through) many a Filipino movie court drama, and you had your mom.
I practice, Noel... and I've seen enough Last Supper moments to get callous about it (saw a tricycle driver forced to admit to acts of lasciviousness because he has been rotting in jail for 2 and a half years, which is the minimum for his felony, but in his explanation, he just touched the butt of the girl to get her out of her tricycle; heard the trial of a man who is charged with robbery of some towels and slippers, etc.). I'm impressed with your mom. I know most fiscals won't even find time to rehearse their witnesses.
Post by: northern portrait on Aug 20, 2009 at 12:34 AM
Have you seen Welles' adaptation of Kafka? Shoulda thrown that in in my own article, that courthouse looks like the Gare d'Orsay, smaller and more Malay of course.
Gay men as oppressed? I'd agree with the filmmakers this much, that it's not quite tired or irrelevant yet. Was Winston gay? That could be another factor.
Good stuff, especially the last part. Law touches all of us in all kinds of ways--oggs studied law (are you practicing?), I was in prelaw, and had seen (or sat through) many a Filipino movie court drama, and you had your mom.
I have Orson Welles's adaptation somewhere here, I also have Michael Haneke's The Castle, but unfortunately they are now lost in all the clutter in my room. I promised not to touch them until I had read the written versions. I may just end up reprocuring them.
I don't know the goods on Winston's sexual orientation, but I'm wondering too. The question is, could the film have worked with Wilson as a straight man? Maybe it's a fuss of mine about nothing. The truth is, gay comedians and stand-up comics have been the rage for a while now. The success of Jay must have been an inspiration too.
Thanks for reading the piece all the way through. I know about Oggs's profession, of course . I visit his blog every so often. The part about you in prelaw is new to me. My brother and mother are lawyers, my father was in prelaw too. Meanwhile I took up English Studies at UP Diliman, though it hardly shows.
Post by: northern portrait on Aug 20, 2009 at 12:44 AM
I practice, Noel... and I've seen enough Last Supper moments to get callous about it (saw a tricycle driver forced to admit to acts of lasciviousness because he has been rotting in jail for 2 and a half years, which is the minimum for his felony, but in his explanation, he just touched the butt of the girl to get her out of her tricycle; heard the trial of a man who is charged with robbery of some towels and slippers, etc.). I'm impressed with your mom. I know most fiscals won't even find time to rehearse their witnesses.
My memory seems to be playing tricks on me, but the rehearsals of testimonies that I remember my mother conducting were in English -- pretty much like Wilson's own testimony. I wonder if it's still the same. It's probably because the province we come from is non-Tagalog.
Post by: oggsmoggs on Aug 24, 2009 at 07:19 PM
Post by: rse on Aug 30, 2009 at 08:47 PM
The movie actually is better than how I remembered it when I saw it in its theatrical run. It's definitely one of the best designed Pinoy period movie that I've seen. It looks more authentic than the big budget movies like Rizal and the recent Baler.
Post by: northern portrait on Aug 30, 2009 at 11:57 PM
Imburnal (Sherad Anthony Sanchez, 2008) (http://cinefilipinas.blogspot.com/2009/08/imburnal-sherad-anthony-sanchez-2008.html)
Post by: Klaus Weasley on Aug 31, 2009 at 01:08 AM
Post by: technosprite on Sep 02, 2009 at 05:50 PM
Film critic Alexis Tioseco, girlfriend shot dead in his QC home
Published: September 2, 2009
http://www.spot.ph/2009/09/02/film-critic-alexis-tioseco-girlfriend-shot-dead-in-his-qc-home/
Film critic Alexis Tioseco and his Slovenian girlfriend, film journalist Nika Bohinc, were shot by robbers last night, September 1, in his Quezon City home on Times Street, West Triangle, as reported by abs-cbnnews.com.
Their household helper identified as Criselda,was said to have let three gunmen inside the couple’s house at around 10 p.m. According to the police, one of the gunmen shot the couple as the entered the house. The robbers left with jewelry and a laptop, and drove away in the couple’s white Ford Lynx with Criselda. The vehicle was recovered by the police at West Avenue this morning at 4 a.m.
Tioseco was a faculty member of the arts department of the University of the Asia and the Pacific and was a regular contributor for several magazines and top newspapers, including the Philippine Daily Inquirer and the Philippine Star.
Tioseco, who met Bohinc on a trip to Slovenia, wrote in his column, “it is important for people to write about their own cinemas and not let it be left to those outside to dictate what matters.”
Post by: halvert on Sep 06, 2009 at 03:53 PM
Post by: oggsmoggs on Sep 07, 2009 at 11:35 AM
Post by: Klaus Weasley on Sep 07, 2009 at 04:57 PM
Post by: Noel_Vera on Sep 08, 2009 at 12:12 PM
His theater performances are worth looking at, too.
Tinimbang is unusual in that it's a panoramic view whereas most of Lino's films are more intimate. It's Brocka's vengeance on the town that maltreated him when he was growing up.
A lot of it is Mario's screenplay, too. When O'Hara and Brocka collaborate, the characterization is just that much more complex, less starkly good and evil, black and white. Best evidence of this is to my money their best collaboration ever, Insiang.
Know all kinds of gossip about the production too. One of the actresses had this enormous crush on Mario O. Knew he was sleeping in the bell tower of the town church--made her way quietly to that tower, snuck inside. Turns out he was already with another cast member of the film.
Incidentally the key to the real Mario O is Bertong Ketong. He's really like that, in real life.
I believe David Hanan considers this one of his top ten favorite films. I do like it enormously, msyelf.
Post by: northern portrait on Sep 10, 2009 at 10:02 PM
Ploning (Dante Nico Garcia, 2008) (http://cinefilipinas.blogspot.com/2009/09/ploning-dante-nico-garcia-2008.html)
Post by: northern portrait on Sep 12, 2009 at 12:18 AM
Manoro (Brillante Mendoza, 2006) (http://cinefilipinas.blogspot.com/2009/09/manoro-brillante-mendoza-2006.html)
Post by: Noel_Vera on Sep 12, 2009 at 07:10 PM
Tributes to Alexis and Nika (http://criticafterdark.blogspot.com/2009/09/piecing-together-shattered-mirror.html)
Up (Peter Doctor, Bob Peterson) (http://criticafterdark.blogspot.com/2009/08/up-peter-doctor-bob-peterson-2009.html)
District 9 (Neill Blomkamp) (http://criticafterdark.blogspot.com/2009/09/blog-post.html)
Bruno (Larry Charles) (http://criticafterdark.blogspot.com/2009/09/bruno-larry-charles-2009.html)
Public Enemies (Michael Mann) (http://criticafterdark.blogspot.com/2009/09/public-enemies-michael-mann-2009.html)
Buhay Ko, Hawak Mo (Ronnie Ricketts) (http://criticafterdark.blogspot.com/2009/08/ronnie-rickett-for-national-artist.html)
Kailangan Ko'y Ikaw (Joyce Bernal) (http://criticafterdark.blogspot.com/2009/08/joyce-bernal-for-national-artist.html)
Tadhana (Nonoy Marcelo) (http://criticafterdark.blogspot.com/2009/08/nonoy-marcelo-for-national-artist.html)
Post by: keating on Sep 12, 2009 at 09:32 PM
2009 Gawad Urian nominees announced
THE MANUNURI ng Pelikulang Pilipino, the society of respected film critics, has announced the nominees for the 32nd annual Gawad Urian for excellence in filmmaking. Winners will be announced in colorful award ceremonies on September 19 at the Cultural Center of the Philippines.
Nominated for best picture are:
Francis Xavier Pasion’s Jay – about a tv journalist who, in seeking to tell the real story behind the killing of a closet homosexual, proceeds to cut corners and embellish the story.
Brillante Mendoza’s Serbis – the first Filipino film in 25 year’s to break into the Cannes International Film Festival (in 2008). It is about the decline of a family as reflected in a rundown town cinemahouse they run which shows cheap sex films.
Arnel Mardoquio’s Hunghong sa Yuta – about war and peace in Mindanao as seen through the eyes of deaf-mute children
Lav Diaz’s Melancholia – an eight-hour pastoral meditation on love, life and suffering
Ellen Ongkeko-Marfil’s Boses – about how an abused child is rehabilitated through the power of music.
Sherad Anthony Sanchez’s Imburnal – a bucolic but mordant romp through the dirty creeks and grimy alleys of Davao City.
Richard Somes’s Yanggaw – about a poor Negros family’s devastation after they start to believe that their daughter has become an “asuwang” (creature of the netherworld).
The nominees are:
Best sound: Hunghong sa Yuta, Serbis (Emmanuel Nolet Clemente), Ploning (Albert Michael idioma), Yanggaw (Romy Lopez and Eduardo Velasques), Boses (Allan Hilado), Adela (Ditoy Aguila and Mark Locsin), Melancholia (Jay Ramirez)
Best music: Boses (Jourdann Petalver), Konsyerto, Ploning (Jessie Lasaten), Imburnal (Eric Gancio), Brutus (Joey Ayala), Yanggaw (Von de Guzman), Kolorete (Diwa de Leon), Hunghong sa Yuta (Popong Landero)
Best editing: Jay (Chuck Guttierez, Francis Xavier Pasion, and Kats Serraon), Huling Pasada (Maui Mauricio and Jesson Yap), Serbis (Claire Villa-Real), Yanggaw (Borgy Torre), 100 (Ike Veneracion), Motorcycle (Ria de Guzman), Ploning (Danny Anonuevo), Imburnal (Sherad Anthony Sanchez)
Best cinematography: Yanggaw (Herman Claraval and Lyle Sacris), Serbis (Odyssey Flores), Jay (Carlo Mendoza), Huling Pasada (Dan Villegas), Ploning (Charlie Peralta), Melancolia, Boses (Nap Jamir), Imburnal (Jase Bagqane Fiola, Joel Geolamen, Mark Limbaga and John Torres), Adela (Albert Banzon), Brutus (Jay Abello), Hunghong sa Yuta (Egay Navarro)
Best production design: Melancholia (Lav Diaz), Yanggaw (Donald Russ Camon and Michal N. Espanol), Jay (Joy Puntawe), Baby Angelo (Cristina Honrado), Serbis (Benjamin Padero and
Carlo Tabije), Hunghong sa Yuta, Ploning (Raymund George Fernandez), Imburnal (Joel Geolamen)
Best supporting actress: Tessie Tomas, 100; Katherine Luna, Imoral; Techie Agbayani and Aleera Montalla, Yanggaw; Flor Salanga, Jay; Agot Isidro, Huling Pasada
Best supporting actor: Coco Martin, Jay; Julio Diaz, Serbis; Yul Servo, Brutus; Roeder Camanag, Melancholia; Archie Aleman, Baby Angelo
Best actress: Mylene Dizon, 100; Judy Ann Santos, Ploning; Gina Pareno and Jaclyn Jose, Serbis; Angeli Bayani, Melancholia; Rhea Medina, Brutus; Boots Anson Roa, Lovebirds; Anita Linda, Adela
Best actor: Baron Geisler, Jay; Julian Duque, Boses; Coco Martin and Paulo Rivero, Daybreak; Ronnie Lazaro, Yanggaw; Timothy Mabalot, Brutus; Perry Dizon, Melancholia; Neil Ryan See, Huling Pasada
Best screenplay: Richard V. Somes and Dwight Gaston, Yanngaw; Francis Xavier Pasion, Jay; Armando Lao and Boots Agbayani Pastor, Serbis; Lav Diaz, Melancholia; Arnel Mardoquio, Hunghong sa Yuta; Froilan Medina and Rody Vera, Boses
Best director: Arnel Mardoquio, Hunghong sa Yuta; Sherad Anthony Sanchez, Imburnal; Richard Somes, Yanggaw; Francis Xavier Pasion, Jay; Tara Illenberger, Brutus; Lav Diaz, Melancholia; Brillante Mendoza, Serbis; Ellen Ongkeko-Marfil, Boses; Adolfo Alix Jr., Imoral
Best picture: Jay (Cinemalaya), Serbis (Centerstage Productions); Hunghong sa Yuta (Brothers of the Sacred Heart Youth Ministry); Melancholia (Sine Olivia); Boses (Casa San Miguel); Imburnal (Cinemaone Original and Creative Programs); Yanggaw (Cinemaone Originals and Creative Programs)
The Manunuri is chaired by Rolando Tolentino, dean of the UP College of Mass Communication. Vice-chair is Gigi Javier, chancellor of the UP Open University. Members are Nicanor Tiongson, former artistic director of the CCP and chairman of the Movie and Television Review and Classification Board; National Artist for Literature Bienvenido Lumbera; Mario Hernando, Sunday Malaya editor and MTRCB member; Mike Rapatan of De la Salle University; columnist and television personality Butch Francisco; Lito Zulueta, Inquirer editor and faculty member at the University of Santo Tomas; and Benilda Santos and Tito Valiente of the Ateneo de Manila University.
Post by: ditoy_eagle on Sep 12, 2009 at 11:21 PM
Post by: jas on Sep 13, 2009 at 07:29 AM
Reading the article posted by keating, I just found out my brother is also nominated for best editing for Huling Pasada. :)
Post by: oggsmoggs on Sep 13, 2009 at 04:29 PM
Post by: halvert on Sep 14, 2009 at 09:03 PM
http://showbizandstyle.inquirer.net/breakingnews/breakingnews/view/20090913-225037/Engkwentro-bags-Venice-filmfest-prize (http://showbizandstyle.inquirer.net/breakingnews/breakingnews/view/20090913-225037/Engkwentro-bags-Venice-filmfest-prize)
Post by: keating on Sep 20, 2009 at 12:10 AM
Natatanging Gawad Urian/Lifetime Achievement Award- PEQUE GALLAGA
Best Actress- MYLENE DIZON (100)
Best Actor- RONNIE LAZARO (Yanggaw)
Best Picture- SERBIS (Centerstage Productions)
Best Director- BRILLANTE MENDOZA (Serbis)
Best Screenplay- FRANCIS XAVIER PASION (Jay)
Best Supporting Actor- COCO MARTIN (Jay)
Best Supporting Actress- ALEERA MONTALLA (Yanggaw)
Best Production Design- BENJAMIN PEDERO & CARLO TABIJE (Serbis)
Best Cinematography- ODYSSEY FLORES (Serbis)
Best Editing- CHUCK GUTIERREZ, FRANCIS PASION, KATS, SERRAON (Jay)
Best Music- POPONG LADERO (Hunghong sa Yuta)
Best Sound- ROMY LOPEZ & EDUARDO VELASQUES (Yanggaw)
Post by: frootloops on Sep 20, 2009 at 12:56 AM
Go Adela for Best Sound! ;D
Congratulation bro Ditoy! ;)
Post by: ditoy_eagle on Sep 20, 2009 at 03:09 AM
Post by: keating on Sep 20, 2009 at 10:31 AM
Post by: oggsmoggs on Sep 22, 2009 at 12:09 PM
Post by: Klaus Weasley on Sep 22, 2009 at 09:26 PM
I could almost guess the next titles: Love Life, My Love Story, The Story of My Love, The Story of Love Life, I Love You, My Life for Love, My Love Wish, A Wishing Love, etc.
Post by: blitzkrieg on Sep 23, 2009 at 04:51 PM
Love of My Life
Life
Separate Lives
Love
Love on a Two Way Street
The Greatest Love of All
Love One of A Kind or
ANY SONG WITH LIFE OR LOVE IN IT!
I really miss the 80's when film companies come up with smart, poetic and sometimes mind boggling titles like Pagputi ng Uwak, Pagitim ng Tagak, Ganito Kami Noon, Paano Kayo Ngayon, Kisapmata, Kakabakabakaba, Hindi Sayo Ang Mundo Baby Porcuna, Nunal Sa Tubig and my favorite....
Nagtago ang Buwan sa Haba ng Gabi..am I right? LOL!!
Post by: oggsmoggs on Oct 08, 2009 at 07:45 PM
Post by: juanch on Oct 10, 2009 at 10:26 AM
They were showing a Gerry De leon film titled "The Blood Drinkers"
Really entertaining B movie :D
Post by: oggsmoggs on Oct 20, 2009 at 01:39 PM
Post by: halvert on Oct 20, 2009 at 03:41 PM
on topic: i love cinema one's late night movies. last week was a rio locsin filmfest (waikiki, haplos, ina kapatid anak...) this week, it's boyet de leon. i saw kakabakaba ka ba? last night.
Post by: oggsmoggs on Oct 20, 2009 at 11:43 PM
This was screened along with Cesar Hernando's Kagat ng Dilim a few weeks ago in Fully Booked.
Post by: oggsmoggs on Oct 24, 2009 at 06:33 PM
Post by: keating on Oct 26, 2009 at 06:38 PM
By Bayani San Diego Jr.
Philippine Daily Inquirer
First Posted 23:37:00 10/25/2009
Talk of this film uniting two superstars of Philippine cinema, Nora Aunor and Lav Diaz, is making the rounds in blogs.
Diaz confirmed this with Inquirer Entertainment, saying the movie, “Reclusion Perpetua,” has been in the works for the past three years.
(Aunor is also set to shoot “Do Filipinos Cry in America?” next year, according to its director, Celso Ad. Castillo.)
Diaz finally met with Aunor recently in Santa Monica, California.
“I went to see Nora,” Diaz explained, “to see how committed she was to the project. We talked at length about it.”
Diaz liked what he saw and heard: “She’s committed.”
He calls it a “collective” effort: “Her fans are raising money. If we meet the target, we’ll be shooting soon.”
Meanwhile, Diaz is off to the Thessaloniki film fest in Greece, where he’s a jury member and where his latest short, “Butterflies Have No Memories,” will be featured in a retrospective on Pinoy indies.
Then, “Butterflies” and his Venice-winning feature, “Melancholia,” will be screened in Warsaw.
Diaz received the Indie Spirit award in the just-concluded Cinemanila fest.
What was the meeting with Nora like?
It was cool. She was in jeans and rubber shoes, no makeup. The sun was shining so bright that day, but a cool breeze, like Baguio’s, was hovering. We had a late lunch and a few beers. We realized we were in LA’s gay district because we kept seeing men holding hands while strolling, and women lustily kissing. Nora joked, “Alam ko na ngayon kung saan pupunta (Now, I know where to go).”
What is “Reclusion Perpetua” about?
Nora’s character is looking for her husband, who disappeared in the US.
Why is it important to you to make a film with Nora now?
It is a cultural issue for me. It is dialectical. Nora Aunor is a Filipino icon, arguably our greatest actress. So, on the level of cultural discourse, she is very much a part of our struggle. I am not a fan ... though my mother is a fanatic. As a cultural worker, I acknowledge her importance.
Why is it important for today’s audiences to see her act again?
Any respectable Nora Aunor film can be used to educate our people. This is my responsibility, to use the medium to create a greater aesthetic and socio-cultural discourse for our people. The most potent modern medium now is cinema. Why not use an incredibly potent icon in the process?
I am using the term “use,” or “paggamit” in Tagalog, in a very dialectical way. That answers the need for a Nora Aunor film. I am not doing a propaganda film, though, not a Nora rah-rah movie. The film’s core shall remain aesthetic. This is still free cinema. It can run 40 hours.
Why is it described as a collective effort?
Everybody is working almost pro bono. Her responsible fans are doing patak-patak (passing the hat). We will work on people’s donations. I am actually announcing it now: We need help! The objective is greater cinema, not profit. Should money come later, it would just be consequential.
How do you know Nora?
In Cotabato, as a kid, I experienced the phenomenon. It was crazy. My mom had some of her records at home.
The screenings of Nora Aunor movies were out of this world. You can actually see truckloads of people arriving in front of movie houses—people from the barrios. They’d be bringing kalderos and platos.
Every time Nora appeared onscreen, there would be screaming, wailing, shrieking. Some would faint. You couldn’t breathe or move. It wasn’t just standing room; it was bumper-to-bumper, sweat-to-sweat, laway-to-laway, bahala na kung mamatay (spit-to-spit, who cares if we die).
What are your favorite Nora Aunor movies?
I love Ishmael Bernal’s “Himala.” She’s also great in Mario O’Hara’s “Tatlong Taong Walang Diyos.”
What’s the latest on your other projects?
“Babae ng Hangin” is still evolving, yet again. I am following new threads to finish it. I submitted a more than three-hour rough cut to Venice but some problems ensued, so I pulled it out. But I’m really thankful that it happened, as I now have a clearer view of how to finish the film in the aesthetic realm.
The Gregoria de Jesus project remains a work in progress. I tried to do some test and pre-production, but I just couldn’t push it properly. The hardest part is finding the right Gregoria de Jesus.
I am also making this call to the brave ones: If you think you can be the great Oryang, please submit your résumé and tell us why. Marami pang karakter na puwede sa lahat (There are other characters for everyone else), if they know the story of the Philippine Revolution.
What’s your take on the retro on Filipino films in the Thessaloniki fest in Greece?
It’s good for RP cinema. They can’t just dismiss us now.
What should Filipino filmmakers do to sustain this international interest?
Just keep working hard, but not so much because of vanity. Everyone wants to be a rock star ... but there’s more to be done in the aesthetic domain. If we really want a revolution, we must work harder and dig deeper. The real revolution that can save our devastated culture is a battle to destroy ignorance and apathy. This issue is a cultural struggle. Let’s examine our history as a people. Why is our culture so dysfunctional? Let’s examine the past and present.
Just ask the obvious questions: How could we have allowed more than 300 years of Spanish rule ... almost 100 years of American imperialism ... 20 years of Marcos dictatorship ... nine years of Macapagal-Arroyo?
With the advent of digital technology, how has filmmaking changed for Filipinos in the last five years?
The last five years have been a watershed. It created greater dynamism on the part of practitioners. Emancipation of the process was delivered by the digital age. We’ve finally destroyed feudalism in cinema. That alone is a huge leap. Greater freedom could hopefully lead to more visionary works. But let us be careful and cautious, because with greater freedom comes greater responsibility.
Post by: northern portrait on Oct 26, 2009 at 11:11 PM
Agonistes (Lav Diaz, work-in-progress) (http://cinefilipinas.blogspot.com/2009/10/agonistes-lav-diaz-work-in-progress.html)
Post by: oggsmoggs on Oct 27, 2009 at 02:07 PM
Post by: oggsmoggs on Oct 28, 2009 at 05:32 PM
Post by: northern portrait on Oct 29, 2009 at 10:33 PM
Biyaheng Lupa (Armando Lao, 2009) (http://cinefilipinas.blogspot.com/2009/10/biyaheng-lupa-armando-lao-2009.html)
Post by: X44 on Oct 30, 2009 at 03:39 AM
Post by: X44 on Nov 17, 2009 at 11:44 PM
Post by: rse on Nov 20, 2009 at 03:30 AM
The movie itself is terrible. I really wanted to like this movie because I admire most of Gallaga's work -- but there's nothing here to recommend. It seems like Gallaga and his crew have been watching too much "I think You Can Dance" and a lot of American teenage soaps. It doesn't help that the main leads are not very likeable and also not good dancers which I think is a major prerequisite for these kinds of movies. The movie's vibe is just amateurish and trite.
That said, the veteran supporting cast are great, especially Cherie Gil doing a "Mitch Valdez".
Post by: rse on Nov 21, 2009 at 05:05 PM
Post by: oggsmoggs on Nov 22, 2009 at 04:27 PM
Post by: oggsmoggs on Dec 07, 2009 at 08:40 PM
Post by: Noel_Vera on Dec 19, 2009 at 05:21 PM
Lav Diaz's Melancholia (2008) and the Maguindanao Massacre (http://criticafterdark.blogspot.com/2009/12/lav-diazs-melancholia-and-maguindanao_07.html)
Still more Vancouver films and Patayin sa Sindak si Barbara (Terrify Barbara to Death, Celso Ad. Castillo, 1974) (http://criticafterdark.blogspot.com/2009/12/still-more-vancouver-festival-films.html)
More Vancouver films (Brillante Mendoza's Serbis, Tsai Ming Liang's Face, Hong Sang Soo's Like You Know It All; Samuel Moaz's Lebanon) (http://criticafterdark.blogspot.com/2009/11/more-vancouver-festival-films-sebis.html)
Johnny Delgado, 1948 - 2009) (http://criticafterdark.blogspot.com/2009/11/johnny-delgado-1948-2009.html)
Fantastic Mr. Fox (Wes Anderson, 2009) (http://criticafterdark.blogspot.com/2009/12/fantastic-mr-fox-wes-anderson.html)
The Hurt Locker (Kathryn Bigelow, 2009) (http://criticafterdark.blogspot.com/2009/11/hurt-locker-kathryn-bigelow-2009.html)
A Christmas Carol (Robert Zemeckis, 2009) (http://criticafterdark.blogspot.com/2009/12/christmas-carol-robert-zemeckis-2009.html)
Inglourious Basterds (Quentin Tarantino, 2009) (http://criticafterdark.blogspot.com/2009/11/inglourious-basterds-quentin-tarantino.html)
Post by: rse on Dec 23, 2009 at 03:48 AM
Tirador is now available on DVD in Amazon France:
http://www.amazon.fr/Tirador-DVD-Jiro-Manio/dp/B002ZIZL5Y/ref=sr_1_3?ie=UTF8&s=dvd&qid=1261512063&sr=8-3
Also Serbis is now available on pre-order in Amazon US
http://www.amazon.com/Service-Serbis-Julio-Diaz/dp/B00313O6N0/ref=sr_1_8?ie=UTF8&s=dvd&qid=1261512214&sr=8-8
(Note: You can also order Serbis in the Amazon France site)
Post by: oggsmoggs on Dec 23, 2009 at 03:28 PM
Post by: oggsmoggs on Dec 25, 2009 at 09:27 AM
Post by: X44 on Dec 29, 2009 at 03:54 PM
Post by: Noel_Vera on Jan 05, 2010 at 12:06 PM
Mario O'Hara's Tatlong Taong Walang Diyos and Lino Brocka's Bona out on DVD (http://criticafterdark.blogspot.com/2009/12/mario-oharas-tatlong-taong-walang-diyos.html)
Avatar (James Cameron, 2009) (http://criticafterdark.blogspot.com/2009/12/avatar-james-cameron-2009.html)
Is Avatar racist? (http://criticafterdark.blogspot.com/2009/12/is-avatar-racist.html)
Post by: northern portrait on Jan 07, 2010 at 12:51 AM
Melancholia (Lav Diaz, 2008) (http://cinefilipinas.blogspot.com/2010/01/melancholia-lav-diaz-2008.html)
Post by: northern portrait on Jan 12, 2010 at 03:23 AM
Post by: jas on Jan 17, 2010 at 08:51 AM
The Arrival (Erik Matti, 2009) (http://oggsmoggs.blogspot.com/2009/12/arrival-2009.html)
Just saw below posting at Twitch Film. Has The Arrival already received a wider local release or has it just been shown at a film festival?
----------------------------------------------------------
Trailer For Erik Matti's THE ARRIVAL
by Todd Brown
January 15, 2010
Erik Matti's is a name that should need no introduction in these parts. The Filipino film maker has been a staple here for years, coming to our attention with his wacky lo-fi Spider-Man riff Gagamboy before impressing with sparsely atmospheric horror tale Pa-Siyam and diving into fantasy pulp with Exodus. The man's even done some very serious indie-drama.
Matti's career is an unusual one, particularly by Filipino standards, where most commercial directors must simply grind out quick, formulaic money earners to keep the entrenched studio system there happy. And Matti has certainly done his share of that, being a good soldier and playing generally within the rules of the system while still managing to work in his own unique flourishes to let audiences know that there may just be something a little more lurking beneath the surface.
Well, what's beneath the surface is now quickly coming to the top. You see, a couple years back Matti simply tired of being the good soldier and checked out of the established order of things. He got his own gear, set up his own space and set out to do things his own way. And the first result of that move is, appropriately enough, The Arrival.
Matti describes it as his most personal film to date and it's hard not to see how it reflects his own changing world. It is the story of Leo, a withdrawn accountant who has spent his life simply being a good soldier for his employer, the consequence being that he has seen nothing, done nothing, and faded so much into the back ground that his company's security men mistake him for a new employee. The film released just before Christmas and Matti has been good enough to provide us with an English subtitled version of the trailer. Check it below.
http://twitchfilm.net/news/2010/01/trailer-for-erik-mattis-the-arrival.php
Post by: keating on Jan 17, 2010 at 10:41 PM
Too bad I was not able to catch it. Some of my friends are already gushing on the film.
Post by: jas on Jan 18, 2010 at 06:49 AM
Erik Matti's THE ARRIVAL was shown at the CCP last December for invitation only.
Too bad I was not able to catch it. Some of my friends are already gushing on the film.
I see, thanks for this info. So that's why I did not hear about it being shown already. Hope it soon gets a wider release. Looks promising...
Post by: Noel_Vera on Jan 18, 2010 at 07:45 PM
The Best of 2009, the Best of the Decade (http://criticafterdark.blogspot.com/2010/01/best-of-decade-best-of-2009.html)
Vancouver International Film Festival pictures (http://criticafterdark.blogspot.com/2010/01/pictures-from-vancouver-international.html)
Show Only One Hollywood Movie a Month, the Sequel (http://criticafterdark.blogspot.com/2010/01/philippine-cinema-bound-and-gagged.html)
Post by: jas on Jan 21, 2010 at 06:56 AM
Erik Matti Vaults Into The A-List With OJT
by Todd Brown, January 19, 2010 8:00 PM
Filipino director Erik Matti has long been a favorite of this site, his films consistently charming with their unique sense of style and energy. But as much as we may argue that films like superhero riff Gagamboy or atmospheric chiller Pa-Siyam are fun films - which they very definitely are - the realities of the system that Matti has been forced to work within have largely meant that while his films are consistently fun they are very seldom what would be called good, at least not good in the big, serious arthouse definition of the word. Only once that I'm aware of in his career - with the gritty drama Prosti - has Matti really been able to showcase the serious craftsman in him and that film has been seen by so tragically few people that it hardly counts.
This is about to change.
When posting the trailer for Matti's indie-comedy The Arrival last week we commented on how major changes were imminent for the writer-producer-director, with The Arrival being the first product of Matti's departure from the mainstream industry and creation of his own production space. What I wasn't able to say then but can say now is that with The Arrival all wrapped up Matti has begun work on his next feature, a crime drama titled OJT. And when this film arrives it will almost certainly vault Matti into the top tier of the international film world.
How can I possibly justify saying such a thing? Simple. Though the film is not yet in active production, Matti and his crew spent a day shooting an 8+ minute promo for the piece to sell the mood and tone. The result? Imagine, if you will, the best parts of Johnnie To's Exiled fused with Fabian Bielinsky's El Aura. The look and tone are absolutely perfect, the performances rich and nuanced and probably the best I have ever seen from the region. If the rest of the film manages to live up to this reel - again, the product of just a single day's work armed with a pair of very good actors, a fantastic DP and two RED cameras - then Matti has an art-crime picture of the absolute highest order on his hands.
But don't take my word for it. We've just been cleared to share the reel with you, the Twitch faithful. Check it below.
http://twitchfilm.net/news/2010/01/erik-mattis-vaults-into-the-a-list-with-otj.php
Post by: Noel_Vera on Jan 21, 2010 at 08:41 AM
Post by: northern portrait on Jan 28, 2010 at 11:19 PM
Death in the Land of Encantos (Lav Diaz, 2008) (http://cinefilipinas.blogspot.com/2010/01/death-in-land-of-encantos-lav-diaz-2008_27.html)
Post by: Noel_Vera on Feb 02, 2010 at 10:35 AM
Daybreakers (Spierig Brothers, 2009) (http://criticafterdark.blogspot.com/2010/01/daybreakers-spierig-brothers-2009.html)
Post by: jas on Feb 10, 2010 at 12:38 PM
The competition:
Best Film:
Bodyguards and Assassins (Hong Kong / China)
City of Life and Death (China- mainland)
Lola (Philippines)
Mother (South Korea)
No Puedo Vivir Sin Ti (Taiwan)
Parade (Japan)
Best Director:
BONG Joon-ho (Mother - South Korea)
Asghar FARHADI (About Elly - Iran)
LU Chuan (City of Life and Death - China)
Brillante MENDOZA (Lola - Philippines)
SONO Sion (Love Exposure - Japan)
YONG Fan (Prince of Tears - Hong Kong / Taiwan)
Best Editing:
Lee Chatametikool (Karaoke - Malaysia)
KWONG Chi-Leung, CHAN Chi-Wai (Overheard - Hong Kong)
MOON Sae-kyoung (Mother - South Korea)
Kats SERRAON (Lola - Philippines)
TANG Hua, ZHANG Yifan, DU Yuan (Silver Medalist - China)
Post by: northern portrait on Feb 12, 2010 at 12:19 AM
Todo Todo Teros (John Torres, 2006) (http://cinefilipinas.blogspot.com/2010/02/todo-todo-teros-john-torres-2006.html)
Post by: Noel_Vera on Feb 12, 2010 at 05:47 AM
Post by: northern portrait on Feb 12, 2010 at 09:33 PM
Post by: rse on Feb 17, 2010 at 07:33 AM
Post by: keating on Feb 17, 2010 at 08:29 PM
I see, thanks for this info. So that's why I did not hear about it being shown already. Hope it soon gets a wider release. Looks promising...
Jas...THE ARRIVAL will be shown tomorrow at the CCP, Feb 18 at 9pm as part of Cinema Rehiyon. Prior to that my fellow Negrense Bacolod short films will be shown also at 7 pm. If you have time catch both screenings!
Post by: jas on Feb 18, 2010 at 01:35 PM
Jas...THE ARRIVAL will be shown tomorrow at the CCP, Feb 18 at 9pm as part of Cinema Rehiyon. Prior to that my fellow Negrense Bacolod short films will be shown also at 7 pm. If you have time catch both screenings!
Really appreciate this info, but unfortunately I don't think I can make it. It's a weekday & CCP is quite far from my location in Marikina... :-\
Hope though that there will still be a regular theatrical release. :)
Post by: Noel_Vera on Feb 22, 2010 at 12:35 PM
Raymond Red's Himpapawid(Manila Skies, 2009)
(http://criticafterdark.blogspot.com/2010/02/himpapapwid-manila-skies-raymond-red.html)
Charles Burnett's Nightjohn (1996) and Selma, Lord Selma (1999)
(http://criticafterdark.blogspot.com/2010/02/pair-of-burnetts-nightjohn-and-selma.html)
Spike Jonze's Where the Wild Things Are(2009) (http://criticafterdark.blogspot.com/2010/02/where-wild-things-are-spike-jonze-2009.html)
Cloudy with a Chance of Meatballs (Phil Lord, Chris Miller, 2009) (http://criticafterdark.blogspot.com/2010/02/cloudy-with-chance-of-meatballs-phil.html)
Messenger 2: Scarecrow (Martin Bernawitz, 2004) (http://criticafterdark.blogspot.com/2010/02/messengers-2-scarecrow-martin-bernawitz.html)
Post by: keating on Feb 22, 2010 at 01:19 PM
I'm very sure that a copy exists somewhere in beta and vhs format. Nice article btw on film preservation, Noel!
Post by: Noel_Vera on Feb 24, 2010 at 02:48 PM
Incidentally, there are video copies of Bagong Hari, but only one of the people involved in the production has a copy of the movie PLUS the film's original ending--before the MTRCB forced them to add those ridiculous end titles.
And thanks!
Post by: oggsmoggs on Feb 25, 2010 at 04:31 PM
Post by: Klaus Weasley on Feb 27, 2010 at 11:27 AM
Post by: rse on Mar 02, 2010 at 12:13 AM
Paano na kaya (Ruel Bayani)
This is a cute love story, works mainly because of the chemistry of the main leads.
Miss You Like Crazy (Cathy Garcia-Molina)
I'm a fan of Cathy Garcia Molina's romantic movies. I think she's way better than Joyce Bernal. This movie is the usual Star Cinema movie but it's well told, well acted and well directed.
Post by: oggsmoggs on Mar 03, 2010 at 11:33 AM
Post by: rse on Mar 03, 2010 at 11:47 PM
I think Cathy Garcia-Molina is underrated just because she works well within the studio system. Her films for Star Cinema, all of which are technically and narratively accomplished, represent what we love and loathe about the mainstream.Agree.
Post by: rse on Mar 03, 2010 at 11:56 PM
This one's pretty boring. Too depressing to be romantic, too shallow to be dramatic. Sam Milby I think has limited range as an actor and fits better in romantic comedies. Bea Alonzo fares better. Derek Ramsay is just an accessory.
Ang Tanging Pamilya
Weird Ai-Ai and Erap pairing. If you're a fan check it out.
The Last Journey of Ninoy
Very watchable Ninoy documentary. I enjoyed it. Very informative.
First Day High (Mario Cornejo)
This movie has its charm in the High School Musical kind of way, but way too all-over-the-place.
Post by: El Zar on Mar 05, 2010 at 03:36 PM
Post by: simon7153 on Mar 06, 2010 at 06:03 PM
Post by: oggsmoggs on Mar 06, 2010 at 07:36 PM
Post by: rse on Mar 07, 2010 at 07:07 PM
I like its visual artistry and its minimal approach to FX. I just hope that they're able to come up with a better story. The movie is also devoid of its needed tension. It doesn't help that Richard Gutierrez still can't act and the other actor, TJ Trinidad is just so boring to watch. Still it's worth a look.
Post by: El Zar on Mar 08, 2010 at 10:17 AM
Tonyong Bayawak
Thanks !
Post by: Noel_Vera on Mar 09, 2010 at 05:04 PM
(http://criticafterdark.blogspot.com/2010/03/lino-brocka-in-glasses-on-set-of.html)
Invictus (Clint Eastwood, 2009)
(http://criticafterdark.blogspot.com/2010/02/invictus-clint-eastwood-2009.html)
Love Happens (Brandon Camp, 2009) (http://criticafterdark.blogspot.com/2010/02/love-happens-brandon-camp2009.html)
Post by: rse on Mar 10, 2010 at 02:55 AM
Lino Brocka in San Francisco; Paul Morales' Concerto (2008)
(http://criticafterdark.blogspot.com/2010/03/lino-brocka-in-glasses-on-set-of.html)
Concerto is a great "war" film. It's up there with Oro, Plata, Mata and Tatlong Taong Walang Diyos.
Post by: Noel_Vera on Mar 10, 2010 at 11:13 AM
Post by: oggsmoggs on Mar 10, 2010 at 06:35 PM
Post by: rse on Mar 11, 2010 at 03:50 AM
Miss You Like Crazy (Cathy Garcia-Molina, 2010) (http://oggsmoggs.blogspot.com/2010/03/miss-you-like-crazy-2010.html)Cathy Garcia Molina is one of the better mainstream directors in Star Cinema's camp. As I wrote before I like her more than Joyce Bernal.
Post by: rse on Mar 12, 2010 at 04:46 AM
An ok drama, I'm a bit disappointed since it's a Laurice Guillen movie. They should have worked a little bit more polishing the script and Gabby needs to learn to act again. He's so stiff in this movie.
Post by: Noel_Vera on Mar 12, 2010 at 01:17 PM
Post by: rse on Mar 14, 2010 at 02:54 AM
Missed opportunity. I've been longing to see a well-made political drama so I was looking forward to this one. I was disappointed. It's boring, unexciting and poorly written.
Ded na Si Lolo (Soxie Topacio)
Not the best movie I've seen this year but it's quite enjoyable.
Post by: R2 on Mar 14, 2010 at 05:30 AM
I was going to say Gabby did good in Manila By Night, but I remembered that was William Martinez, another pretty boy but far more talented. For some reason I keep confusing the two.I haven't seen a lot of William Martinez' films, but i agree with you that he was quite good in City After Dark. It was a daring role (there was that kissing scene), given his matinee idol status at the time. As for Gabby, he was very bankable and critically-acclaimed during the early 90s (he received an Urian Best Actor for Laurice Guillen's Tayong Dalawa). And then that film festival fiasco happened...
Post by: rse on Mar 15, 2010 at 02:14 AM
Very watchable, albeit thoroughly disposable horror-suspense movie. And please stop using CGI if it's not going to be done properly. It's just waste of money.
Post by: Noel_Vera on Mar 15, 2010 at 10:40 AM
Post by: halvert on Mar 15, 2010 at 03:43 PM
T2 (Chito Rono)I had a problem with the part of the movie when Maricel brought the kid to T2 and the new guardian wasn't there. That should have made alarm bells ring for Maricel. How can a person be a good adoptive parent if one can't even show up to meet her on time? Also, Maricel should have the guardian's cell number. It's practically impossible to not have a cellphone now in the Philippines.
Very watchable, albeit thoroughly disposable horror-suspense movie. And please stop using CGI if it's not going to be done properly. It's just waste of money.
And yes, CGI was rushed, sloppy. The enchanted world looked like HK disneyland.
Post by: rse on Mar 16, 2010 at 12:48 AM
how does it compare to say Spirit Warriors 2? Which I liked, for the record.
I've seen Spirit Warriors 2 a long time ago, I've forgotten most of it.
I had a problem with the part of the movie when Maricel brought the kid to T2 and the new guardian wasn't there. That should have made alarm bells ring for Maricel. How can a person be a good adoptive parent if one can't even show up to meet her on time? Also, Maricel should have the guardian's cell number. It's practically impossible to not have a cellphone now in the Philippines.
And yes, CGI was rushed, sloppy. The enchanted world looked like HK disneyland.
The bad CGI threw me off the movie. At it's best it reminded me of Rosemarie's Baby. I also liked that this time they featured the beautiful countryside of the Philippines, instead of the usual Star Cinema approach which is to go abroad.
Post by: Noel_Vera on Mar 16, 2010 at 10:03 AM
Post by: Klaus Weasley on Mar 21, 2010 at 07:38 PM
Post by: oggsmoggs on Mar 21, 2010 at 10:54 PM
Post by: halvert on Mar 29, 2010 at 09:02 PM
Post by: Noel_Vera on Apr 01, 2010 at 12:32 PM
Lino Brocka and other Filipino films at the 2010 San Francisco International Asian American Film Festival
(http://criticafterdark.blogspot.com/2010/03/filipino-films-at-2010-san-francisco.html)
The Ghost Writer (Roman Polanski, 2010)
(http://criticafterdark.blogspot.com/2010/03/ghost-writer-roman-polanski-2010.html)
The Green Zone (Paul Greengrass, 2010) (http://criticafterdark.blogspot.com/2010/03/green-zone-paul-greengrass-2010.html)
Up in the Air (Jason Reitman, 2009)
(http://criticafterdark.blogspot.com/2010/03/up-in-air-jason-reitman-2009.html)
The Road (John Hillcoat, 2009) (http://criticafterdark.blogspot.com/2010/03/road-john-hillcoat-2009.html)
The Box (Richard Kelly, 2009) (http://criticafterdark.blogspot.com/2010/03/box-richard-kelly-2009.html)
Post by: oggsmoggs on Apr 05, 2010 at 06:23 PM
Post by: indie boi on Apr 06, 2010 at 03:14 PM
Lino Brocka and other Filipino films at the 2010 San Francisco International Asian American Film Festival
(http://criticafterdark.blogspot.com/2010/03/filipino-films-at-2010-san-francisco.html)
The Ghost Writer (Roman Polanski, 2010)
(http://criticafterdark.blogspot.com/2010/03/ghost-writer-roman-polanski-2010.html)
The Green Zone (Paul Greengrass, 2010) (http://criticafterdark.blogspot.com/2010/03/green-zone-paul-greengrass-2010.html)
Up in the Air (Jason Reitman, 2009)
(http://criticafterdark.blogspot.com/2010/03/up-in-air-jason-reitman-2009.html)
The Road (John Hillcoat, 2009) (http://criticafterdark.blogspot.com/2010/03/road-john-hillcoat-2009.html)
The Box (Richard Kelly, 2009) (http://criticafterdark.blogspot.com/2010/03/box-richard-kelly-2009.html)
Hey, Noel. You should probably post a link to your article in last month's issue of Rogue. That was a good read -- and a new picture, hehe.
Post by: Noel_Vera on Apr 07, 2010 at 10:02 AM
Post by: Noel_Vera on Apr 07, 2010 at 10:21 AM
Post by: indie boi on Apr 07, 2010 at 02:58 PM
The PDVD guys really should read it, it will give pause to the people who worship at Cameron's, ehem, Altar. :)
Post by: oggsmoggs on Apr 07, 2010 at 08:25 PM
Sorry, I don't have a link. I actually read the article on the mag itself. I was hoping you had it stashed somewhere online. :(
The PDVD guys really should read it, it will give pause to the people who worship at Cameron's, ehem, Altar. :)
True. Our friends from CinemaOne should read it too, so they can start releasing their films on DVD. Whatever happened to Confessional, Sherad's films, etc.?
Post by: Noel_Vera on Apr 08, 2010 at 11:13 AM
Post by: indie boi on Apr 10, 2010 at 09:36 AM
Post by: Noel_Vera on Apr 10, 2010 at 02:30 PM
Post by: Klaus Weasley on Apr 10, 2010 at 06:19 PM
Post by: Noel_Vera on Apr 11, 2010 at 02:00 PM
Mind you I do think it's great and all, but I've learned to at least consider how people might react to, say, a fuzzy video image. A pain, but there you are.
Post by: rse on Apr 11, 2010 at 03:06 PM
Mario O'Hara's Tatlong Taong Walang Diyos is available on DVD (with a blurb from you, Noel, I saw). Is it worth a blind-buy?
I have this on DVD. There are no chapter stops. No subtitles. It includes a photo gallery. The transfer is good for its age (pinoy standard). And of course it's a great movie and it's the only legit transfer that's available out there (of course it's also available on VCD). It's reasonably priced. Buy now.
Post by: Noel_Vera on Apr 12, 2010 at 03:59 AM
Post by: oggsmoggs on Apr 16, 2010 at 10:19 PM
Post by: rse on Apr 17, 2010 at 02:16 PM
More accessible than his A Short Film About the Indio Nacional, filmed in the same "silent film-like" style - black and white photography, artificial sets, etc. Great use of old Pinoy music. That said it still has a school project feel to it. Not for all tastes.
Post by: R2 on Apr 17, 2010 at 09:59 PM
Lino Brocka, 1985
Saw this movie again after so many years, and it was quite a rewarding experience. Maybe not in the same league as Brocka's undisputed masterpieces (Maynila Sa Mga Kuko Ng Liwanag,Insiang,to name a few) but this one is still worth watching, and bears the director's trademarks: excellent perfomances from a superb ensemble cast (notably Nida Blanca,Eddie Garcia,and Aga Muhlach),the familiar theme of quest for justice, gripping and/or tense scenes of emotional conflicts (Nida Blanca's reunion with Aga Muhlach, Liza Lorena's anguished confession,the climactic shoot-out in the end), certain quasi-documentary scenes (a sequence showing Holy Week flagellants). Released during the dying years of the Marcos dictatorship, today it is still socially-relevant, especially as it's an election year. Butch Dalisay's use of matatas na Tagalog in his script was quite a pleasant treat: somehow appropriate and gave the film a sense of timelessness.
Post by: Noel_Vera on Apr 18, 2010 at 12:51 PM
Post by: rse on Apr 18, 2010 at 01:38 PM
Love it or hate it, this is one of those movies that you won't forget once you see it. It's not a torture porn like the Saw movies, or Mel Gibson's The Passion of the Christ but its 'matter-of-fact' tone makes for an uncomfortable viewing. Not for the faint-hearted.
Post by: keating on Apr 18, 2010 at 09:34 PM
Post by: rse on Apr 20, 2010 at 11:47 PM
The best thing that I can say about this movie is that it made me appreciate the original classic movies that these films are based from (Manila By Night/Jaguar). Both of the films are quite dull and Piolo is miscast for both of his parts. The b&w photography doesn't fit any of the the movies at all (imagine: the fiery hell on earth Smokey Mountain sequence in Jaguar devoid of color). In the first movie, they colored Piolo's hair and it looked weird (and is distracting) in b&w. The extended credits in between the movies is slightly amusing but bordering on indulgence. Overall the movies are OK but uninspired.
Post by: R2 on Apr 22, 2010 at 02:36 AM
Joyce Bernal, 2009
I've finally seen this film when it had its cable television premiere and I have to say that the word-of-mouth praises are somehow well-deserved. Filipino comedy films,in general,are not exactly known for their sophistication but this one at least strived to have just that. Not your usual slapstick nonsense, it boasts of a narrative with an interesting plot and which didn't require a mediocre smorgasbord cast and instead showcased a tour-de-force performance from Eugene Domingo,who played not just one but two lead characters (the title is quite a give-away),ably supported by actors who were cast against type,resulting in performances that transcends their celebrity personas (Dingdong Dantes as a case in point).
The film,however,was not a laugh-every-minute affair. The comic scenes are limited to some sight gags,the rare but quite effective punchlines,and a show-stopping set piece or two (one involves Domingo having to play both twins to conceal a very crucial plot detail). But make no mistakes, the movie is quite an enjoyable watch.
It's quite exciting to think what better things this movie's creators can come up with next time. There's still hope for the local film industry, after all.
Post by: Klaus Weasley on Apr 23, 2010 at 01:26 AM
Post by: oggsmoggs on Apr 23, 2010 at 09:56 AM
Post by: rse on Apr 23, 2010 at 11:48 PM
How does the new Working Girls compare with the Ishmael Bernal original? (Which is available on DVD now, I'm considering buying it.)I have the VCD of the original Working Girls. They've just released a subtitled DVD version. I'm also thinking about upgrading to it, but I just want to know if the transfer is better than the VCD.
http://www.kabayancentral.com/video/viva/cpvvwgirls1.html
Post by: Noel_Vera on Apr 25, 2010 at 02:20 PM
Shutter Island (Martin Scorsese) (http://criticafterdark.blogspot.com/2010/04/shutter-island-martin-scorsese-2010.html)
Clash of the Titans (Louis Leterrier) (http://criticafterdark.blogspot.com/2010/04/clash-of-titans-louis-leterrier-2010.html)
Altar vs. Avatar (http://criticafterdark.blogspot.com/2010/04/altar-vs-avatar.html)
Post by: oggsmoggs on Apr 27, 2010 at 08:59 PM
Post by: keating on Apr 28, 2010 at 11:15 PM
Gil Portes was quite insulted and talked to Regal Matriarch Mother Lily during the 90's after he learned that his film was test screened by Mother to her bunch of maids and driver.
Portes: Do you do that to Ishmael Bernal?
Mother Lily: Why, are you as good as Ishmael Bernal?
;D
Post by: keating on Apr 29, 2010 at 12:16 AM
http://www.jessicarulestheuniverse.com/
;D
Post by: rse on May 01, 2010 at 03:00 PM
http://www.kabayancentral.com/video/viva/cpvvmanoro.html
Post by: Noel_Vera on May 02, 2010 at 11:19 AM
Post by: rse on May 03, 2010 at 08:14 PM
Surprisingly I wasn't bothered by the film's length. I think that it's perfectly paced, it just has a lot of stories to say (at times a bit too many). This is Lav Diaz's "Manila" movie. It's a dissection of the Filipino today, our baggages, and our guilt.
Minor gripes: The film's low budget hurt it. For example, I didn't really feel the passage of time. It felt like the story just happened in one winters time (I'm suspecting that it was filmed in a very short period of time.) Joel Torre as a cop was not very convincing (the milieu not the acting). The precinct looked like a nondescript office, his car, etc..
(Also his revelation in the end, makes me think if the police force is not doing a background check for aspiring cops?) I wish that they've just made him a father who's investigating the death of his son or a private investigator, etc.
Post by: rse on May 03, 2010 at 10:38 PM
I'm starting to be fan of Jerrold Tarog. I've seen his Confessional, which I find to be interesting (and contains one of the best executed scenes I've seen in a while). My main problem with that movie is that it feels more like a travelogue than a fully realised movie.
Mangatyanan, is a better realized film. For one, it's just so beautifully photographed. It's also well acted and well told. The story also is quite interesting. When I bought the DVD I thought that it's an indie horror film. According to the DVD, they shot the film in 10 days! What an accomplishment!
Post by: keating on May 04, 2010 at 11:04 AM
I missed this one on last year's Cinemalaya and saw it only last night. The raves are just perfectly right. Yapan's medium which centered on the abuse of domestic women was given a different take on celluloid thru surrealism and part mystery. Yapan has crafted two different worlds that a woman can dig into whenever they feel neglected, abused and used. Irma Adlawan is competent as usual much better than her take in Jeffrey Jeturian's TUHOG. Nonie Buencamino's impressive performance is no doubt but it's Tj Trinidad who almost stole the thunder from Irma Adlawan. I wish filmmakers at present will explore more folklore that has been part of our cultural heritage whether you believe them or not.
Post by: Noel_Vera on May 05, 2010 at 08:55 AM
Not sure you're going to like his longer stuff--Ebolusyon, Heremias, etc.
Post by: oggsmoggs on May 09, 2010 at 11:47 PM
Post by: oggsmoggs on May 12, 2010 at 10:09 PM
Post by: X44 on May 12, 2010 at 10:28 PM
Post by: Noel_Vera on May 13, 2010 at 11:31 AM
Post by: keating on May 13, 2010 at 09:35 PM
Post by: Klaus Weasley on May 13, 2010 at 11:50 PM
Juan Tamad Goes to Congress (Manuel Conde, 1960) (http://oggsmoggs.blogspot.com/2010/05/long-live-juan-tamad.html)
Holy crap. Where is this available?
Post by: Noel_Vera on May 14, 2010 at 06:18 AM
Holy crap. Where is this available?
I wish.
Post by: Noel_Vera on May 14, 2010 at 06:22 AM
Post by: oggsmoggs on May 14, 2010 at 07:04 AM
I wish.;D Hehe...
Post by: R2 on May 15, 2010 at 03:36 AM
Eddie Romero, 1980
Arguably one of the best Filipino films ever produced, Romero's epic tried to tell snippets of our nation's history as seen through the life and times of a family patriarch. Played by no less than FPJ himself, the part required him to age from a young orphaned child into an octogenarian recluse, and offered him one of the richest roles in his distinguished career. Playing alongside him is an equally big-name cast,the likes of Christopher De Leon,Amalia Fuentes,Eddie Garcia,to name a few.
The story and screenplay,like most of Romero's oeuvres,is it's main draw: quite profound and compelling, despite a long running time,and touched on many subjects that remains relevant to this day: greed and corruption,immorality and religious hypocrisy,heroism and star-crossed loves,naive idealism and sexual liberation,the search for the true meaning of life. I haven't seen enough of Poe's large catalogue of films, but I'm sure not one of them features the highly-esteemed actor as,at one point in this film,a philandering husband.
The project's big budget also showed in its very good production values,and with credits like Mike De Leon as cinematographer and musical score by Ryan Cayabyab, it won't be suprising.
Post by: oggsmoggs on May 15, 2010 at 07:34 AM
Post by: Noel_Vera on May 15, 2010 at 07:51 AM
Post by: rse on May 15, 2010 at 05:07 PM
BTW, saw Panggagahasa Kay Fe. I like it. Reminds me of Pan's Labyrinth. The storytelling is a bit clunky though...
Post by: R2 on May 15, 2010 at 07:52 PM
I don't know about best Filipino film ever but it has to be hands down the best thing Romero ever did. And it looks a lot handsomer than Ganito.
My exact words were: "Arguably one of the best Filipino films ever produced,..." Still, it's nice to hear that a lot of people liked this movie.
Post by: oggsmoggs on May 19, 2010 at 09:26 AM
Post by: rse on May 23, 2010 at 11:04 PM
I can't believe that this is by Maryo J. De Los Reyes and that it's Rated B. Aside from the beautiful location (Bohol), this is pure soap...and not a good one at that.
Post by: rse on May 26, 2010 at 01:28 AM
Post by: T33K0Y on May 26, 2010 at 02:22 AM
- Mang Kepweng
- Estong Tutong (remember PILING? ;D)
- Mr. Wong
Post by: Noel_Vera on Jun 01, 2010 at 12:17 PM
Mortal (Mario O'Hara, 1975) (http://criticafterdark.blogspot.com/2010/05/mortal-mario-ohara-1975.html)
Godfathers 1 & 2 (http://criticafterdark.blogspot.com/2010/05/godfatherr-you-broke-my-heart-you-broke.html)
Shrek Forever After; Letter from an Unknown Woman 1948 & 2004
(http://criticafterdark.blogspot.com/2010/05/shrek-forever-after-letter-from-unknown.html)
Imaginarium of Dr. Parnassus (Terry Gilliam) (http://criticafterdark.blogspot.com/2010/05/imaginarium-of-dr-parnassus-terry.html)
Iron Man 2; Kick-Ass
(http://criticafterdark.blogspot.com/2010/05/iron-man-2-jon-favreau-kick-ass-matthew.html)
Nightmare on Elm Street (http://criticafterdark.blogspot.com/2010/05/wake-me-when-its-over-i-wouldnt-call.html)
Post by: keating on Jun 04, 2010 at 09:30 PM
AGUILA
Eddie Romero, 1980
Arguably one of the best Filipino films ever produced, Romero's epic tried to tell snippets of our nation's history as seen through the life and times of a family patriarch. Played by no less than FPJ himself, the part required him to age from a young orphaned child into an octogenarian recluse, and offered him one of the richest roles in his distinguished career. Playing alongside him is an equally big-name cast,the likes of Christopher De Leon,Amalia Fuentes,Eddie Garcia,to name a few.
The story and screenplay,like most of Romero's oeuvres,is it's main draw: quite profound and compelling, despite a long running time,and touched on many subjects that remains relevant to this day: greed and corruption,immorality and religious hypocrisy,heroism and star-crossed loves,naive idealism and sexual liberation,the search for the true meaning of life. I haven't seen enough of Poe's large catalogue of films, but I'm sure not one of them features the highly-esteemed actor as,at one point in this film,a philandering husband.
The project's big budget also showed in its very good production values,and with credits like Mike De Leon as cinematographer and musical score by Ryan Cayabyab, it won't be suprising.
It has a tag price of P6M during its time. The costliest so far for a Filipino film. I like the flashback and good pacing of the film. And its good evocation of time and place. Low-key acting and with a powerhouse cast. The print that Cinema One shows is in excellent condition.
Post by: oggsmoggs on Jun 07, 2010 at 04:17 PM
Post by: Noel_Vera on Jun 09, 2010 at 08:26 AM
Filipino films in Brazil; Vincenzo Natali's Splice; Jia Zhangke's The World (http://criticafterdark.blogspot.com/2010/06/filipino-films-in-brazil-splice.html)
Two films on the Titanic (http://criticafterdark.blogspot.com/2010/06/two-titanic-films.html)
Post by: oggsmoggs on Jun 11, 2010 at 03:36 PM
Post by: Krenn on Jun 14, 2010 at 06:37 PM
Post by: Noel_Vera on Jun 16, 2010 at 04:04 PM
Talking about Mario O'Hara's Three Years w/o God (http://criticafterdark.blogspot.com/2010/06/talking-about-tatlong-taong-walang.html)
Francis Coppola's Tetro (http://criticafterdark.blogspot.com/2010/06/bohemian-rhapsody-tetro-2009-is-first.html)
Post by: fitz_gerald on Jun 16, 2010 at 06:40 PM
What's good about the movie is it doesn't contain lots of subplots and loopholes. The musical scoring gave me the same haunting feeling when I saw Scorpio Nights but obviously this is less superior to the latter and well I'm expecting the movie to end tragic.
Post by: Noel_Vera on Jun 17, 2010 at 01:21 AM
Post by: Krenn on Jun 18, 2010 at 01:35 PM
Personally I had problems with Tirador. Much prefer his earlier work.
It's not a perfect film per se but I preferred it a lot from what I have seen.
Tirador - 9/10
Kaleldo - 6.5/10
Masahista - 6/10
Serbis - 4/10
I can't wait to see Manoro, Lola and Foster Child. No interest to see Kinatay.
Post by: Noel_Vera on Jun 18, 2010 at 11:03 PM
Post by: keating on Jun 25, 2010 at 12:43 PM
I can't wait to see Manoro, Lola and Foster Child. No interest to see Kinatay.
LOLA just blew me away. Anita Linda and Rustica Carpio both gave memorable and hypnotic performances from start to finish especially Anita Linda.
In KINATAY you feel the tension and suspense on the edge. Next on my watch lists...Aureaus Solito's BOY.
Post by: rse on Jun 26, 2010 at 12:08 AM
LOLA just blew me away. Anita Linda and Rustica Carpio both gave memorable and hypnotic performances from start to finish especially Anita Linda.
In KINATAY you feel the tension and suspense on the edge. Next on my watch lists...Aureaus Solito's BOY.
I also think that Kinatay and Lola are great. Kinatay is shot like a suspense-horror. The violence is not at all gratuitous and not a explicit as you may expect (compared for example to Saw movies). Lola is more of a social realism. I like its use of location. It also captured the feel of monsoon season very well. My minor complaint is that there's one to many "walking" scenes, he he he.
Post by: keating on Jun 27, 2010 at 06:36 AM
The rain shots were all remarkable and add to the poignant touch of the movie.
Post by: rse on Jun 27, 2010 at 12:16 PM
How did you find the ending of LOLA? Did you like it RSE? I thought Anita Linda will still stick to her principles. I was disappointed.
The rain shots were all remarkable and add to the poignant touch of the movie.
I like the ending. The scene with them talking while the daughter was ordering food is very well executed. I think that she doesn't really have a choice but to accept the money. They're in dire need of it.
Post by: Klaus Weasley on Jun 28, 2010 at 09:38 AM
SPOILERS
In Philippine law, can you really just drop charges on a murder/homicide and the perpetrator can be released just like that? Or was this just for dramatic purposes?
Post by: oggsmoggs on Jun 28, 2010 at 11:34 PM
The desistance is only for the civil aspect of the criminal case though, which is why the judge still has to decide whether or not the case will be dismissed on the sole basis of the affidavit of desistance.
The ending of Lola can happen, but should not happen.
Post by: X44 on Jul 06, 2010 at 02:01 PM
How did you find the ending of LOLA? Did you like it RSE? I thought Anita Linda will still stick to her principles. I was disappointed.
Disappointed in her character? I agree. Not disappointed with the movie, though. The more I think about Lola, that is the further away it gets from all the politics that mar its reputation (the charge that it was "made" for the festivals, the alleged exoticizing of poverty, the heightened consciousness that this is post-Bing Lao Brillante and therefore below par for it etc.) the better it's becoming as a work. This is one time it helps to adopt the stance of an outsider/foreigner in watching a film. The last shot was brilliant, I thought. Almost as much as the last shot of Kinatay.
Post by: X44 on Jul 06, 2010 at 02:04 PM
Post by: keating on Jul 10, 2010 at 05:32 PM
Post by: X44 on Jul 11, 2010 at 01:58 PM
Yes Raymond is a pioneer of the indie revolution. But he isn't a pioneer nor an active practitioner (until late 2009 and possibly Imahe Nation) of the digital indie revolution. He's never been a true blue advocate of it, in fact. He himself will admit this.
And even if he was, this isn't that kind of book. It's a book of interviews. Nothing more nothing less. 90% iof the words you will read are by Lav,Kidlat,Rox, Rico, Raya, Adolf, Paolo and Ellen, Mes, Ato, Ditsi, Aureus, John, Jeffrey and Brillante.
Done talking about this book. And only because you asked, keating. Going to let the book speak for itself. As it should. ;D
Post by: wedge on Jul 11, 2010 at 11:26 PM
BTW, I freed my sked up for Wednesday. I'll be there with Onat. :)
Post by: Klaus Weasley on Jul 13, 2010 at 12:40 AM
Post by: Noel_Vera on Jul 16, 2010 at 10:07 AM
Post by: keating on Jul 24, 2010 at 10:12 AM
Rejected at the Cannes filmfest, Raymond Red's HIMPAPAWID soars high based on a newspaper item about a man hijacking a plane and dropping from the sky 5,000 feet below the ground. The result is gripping, riveting and amazing piece of work. With a great ensemble cast that leaves you breathless about their performances, from John Arcilla as the group's leader, to Soliman Cruz as the torture victim, Raul Morit as the driver of the cab and Marissa Sue Prado in three roles such as the flight attendant, harlot neighborhood and unsympathetic clerk all delivered their best performances to date. It's Raul Arellano who shines in every frame as Raul the hijacker reminiscent of Robert De Niro's Travis Bickle in TAXI DRIVER. The moments highlighting the dramatic events unfolding before your eyes from Arellano's crappy and dirty room, jerking off in his bathroom while watching his neighborhood prostitute, to his way applying for a job, the dropping of the coin into the drainage, the stepping of his feet into the feces until to his final desperation are worthy enough to place this into the ranks of future classic!
Post by: Noel_Vera on Jul 25, 2010 at 07:16 AM
Inception (Christopher Nolan) (http://criticafterdark.blogspot.com/2010/07/inception-christopher-nolan-2010.html)
Twilight Saga: Eclipse (David Slade) (http://criticafterdark.blogspot.com/2010/07/twilight-saga-eclipse-david-slade-2010.html)
A Single Man (Tom Ford) (http://criticafterdark.blogspot.com/2010/07/single-man-tom-ford-2010.html)
The White Ribbon (Michael Haneke) (http://criticafterdark.blogspot.com/2010/07/white-ribbon-michael-haneke-2009.html)
I just didn't do it (Masuyuki Suo) (http://criticafterdark.blogspot.com/2010/07/soredemo-boku-wa-yattenai-i-just-didnt.html)
Psycho (Alfred Hitchcock) 50th Anniversary (http://criticafterdark.blogspot.com/2010/07/psycho-alfred-hitchcock-1960.html)
Letters to Juliet (Gary Winick) (http://criticafterdark.blogspot.com/2010/06/letters-to-juliet-gary-winick-2010.html)
Post by: RMN on Jul 26, 2010 at 11:26 PM
August 14, 2010
Krimen: Kayo Ang Humatol (1974) Directed Jun Raquiza
September 11, 2010
Masquerade (1967) Directed by Danny Zialcita
October 9, 2010
Kasal o Sakal (1964) Directed by Efren Reyes & Johnny Reyes
November 13, 2010
Ito Ang Pilipino (1966) Directed by Cesar Gallardo
December 11, 2010
Gaano Kita Kamahal (1993) Directed by Butch Perez
January 15, 2011
Waray-Waray (1954) Directed by F.H. Constantino
FREE ADMISSION!!!
Post by: keating on Jul 30, 2010 at 06:31 PM
More thoughts later....
Post by: keating on Aug 01, 2010 at 09:34 AM
Three movies in a row will gauge if a filmmaker has the ability to determine her career will take. This is true on the case of Laurice Guillen as far as back during her early days as a filmmaker. KASAL tells the uncertainties and last minute apprehensions of a couple about to be wed. SALOME involves the question, what is the truth, a crime of passion being committed in a small town. Her second gig KUNG AKOY IIWAN MO deals with the classic dilemma of career versus marriage. And what could be more fulfilling by casting Nora Aunor and Christopher de Leon as the couple whose relationship crumbles in this domestic drama. A love story that recalled very much their own private story and Nora as a singer.
KUNG AKOY IIWAN MO is intelligently well-made, technically polished and restrained. Nora is simply superb. It needs to be resurrected again and give the audience the chance to see it again. It was a flop during the 1980 MMFF. If you're a typical moviegoer expecting fireworks, cuss words and fight scenes in those scenes of infidelity, then this film will not work for you. Laurice Guillen's films especially KUNG AKOY IIWAN MO will always demand thinking audiences and provoke discussions but she was not able to sustain it on the present times.
Post by: keating on Aug 01, 2010 at 10:14 AM
Shot in 23 days for a budget of P6M, TUHOG is two movies in one, think of it as a twinbill in one film. A mother and daughter sold their story who are victims of incest and rape to a bunch of filmmakers and agreed to their story. As they watch the film on the big screen on real life they were raped again.
Jeffrey Jeturian has crafted another outstanding film in his filmography. Its brave, clever, bold. The real mother and daughter team was played by Irma Adlawan and Ina Raymundo while the reel mother and daughter team was played by Jaclyn Jose and Klaudia Koronel. The film within the film is not merely a spoof of sexploitation flicks. We see the glossy look of these kind of films and yes we are fooled by it, exploitation flicks imitating as an art. In most Filipino films rape has always been depicted as erotic, and Jeturian expose it as horrifying and we feel guilty about it.
Originally titled PINILAKAN which won at the defunct ECP scriptwriting contest, the original version shows a young rape victim sells her story to the movies, had a tryst with the director, gets dumped and shows at the movie preem to shoot her ex-lover. Still a brilliant idea from Armando Lao who wrote TUHOG along with other Jeturian flicks like SANA PAG-IBIG NA and PILA BALDE. Its been a while since we've seen a Jeffrey Jeturian flick, and I'm waiting for his comeback on the big screen.
Post by: Klaus Weasley on Aug 01, 2010 at 07:45 PM
Post by: keating on Aug 01, 2010 at 08:42 PM
Post by: oggsmoggs on Aug 01, 2010 at 09:15 PM
Tales is interesting because it feels so strangely out of place in Raya's filmography. It's probably the setting, or it being upfront personal. I thought the unintended reading of the English translation of the French intertitles by Raya (or any male voice) made it an even more interesting viewing.
It was a lovely screening, despite the glitches. Thanks!
Post by: Klaus Weasley on Aug 01, 2010 at 10:16 PM
Post by: oggsmoggs on Aug 02, 2010 at 07:08 AM
So the sound glitches were not intentional?
By glitches, I mean the church people who used the U-view after our screening, and the late start because of some technical issues.
Post by: Noel_Vera on Aug 02, 2010 at 08:16 AM
Post by: X44 on Aug 02, 2010 at 07:31 PM
So the sound glitches were not intentional?
The glitches in sound, it turns out, were the result of Raya making only one copy of the film. Last Sunday was the third time it was shown,albeit the first time in the Philippines. The first time, Raya ssid, the sound was apparently perfect but it deteriorated with each play. Someone made a joke that the tape(film) rots the way love sort of rots over time. Makes a weird kind of sense. Weirdly enough, the picture quality never degraded - - -it was intentionally degraded from the get-go.
Very interesting experience. Possible Lovers has the structure of a passive installation piece (or a James Benning landscape film without the obsessive-compulsive technical exactness) that demands to be shown in an immersive environment like a cinema. Some of the people beside me sort of got it and closed their eyes to focus on the sound design, which is where most of the "story" is, I think. Too bad we never got to the Q & A but I feel whether you were bored (I drifted off a few times ) or fascinated or indifferent or infuriated, it was the right response.
I thought the night shots of Tales were lovely.
I'll try and write up my own review, although I sort of just did. :)
Oh, and thanks for coming, klaus weasley. Also, keating. And RMN. And everybody else. Last Sunday was a career-high for the Film Series as far as the turnout was concerned. Hopefully this keeps up. with the next screenings.
Post by: oggsmoggs on Aug 03, 2010 at 01:42 PM
Post by: X44 on Aug 14, 2010 at 11:42 AM
Post by: Klaus Weasley on Aug 15, 2010 at 07:44 PM
Post by: Noel_Vera on Aug 16, 2010 at 11:49 AM
Post by: R2 on Aug 18, 2010 at 03:57 AM
Peque Gallaga, Lorenzo Reyes (1988)
The duo's third directorial effort marks the first of their many forays in the horror genre, which proved to be a winning formula as fas as commercial success is concerned. Made during Regal Films' glory years, it tried to cash in on the then-popular tandem of Lotlot De Leon and Ramon Christopher, and publicised via a popular tagline (remember "Oh my God, ang anak ni Janice!"?). It can be noted,though,that most of Gallaga and Reyes' filmography conspicuosly didn't have to rely on star power to sell the movies (with the exception of Once Upon A Time, starring Dolphy).
The movie,unfortunately,suffers from some weak points in terms of character motivations, implausible plot points,and unnecessarily hysterical (but supposedly emotional) scenes.
What cannot be denied,however,is the movie's technical brilliance: all filmic elements (photography, production design,editing,music and sound) effectively combined to convey shock and terror to the viewers. Among it's many impressive set-pieces are the "showdown" between Mary Walter and the monster baby, the scenes in a hospital,on a nursery full of neonates,and the climactic sequence set inside a cinema (imagine how it feels to watch a scene like this,as I did when I saw the movie during its theatre run back in the late '80s; it was such a brilliant conceit).
Post by: Noel_Vera on Aug 22, 2010 at 02:01 PM
Ang Ninanais (John Torres, 2010) (http://criticafterdark.blogspot.com/2010/08/ninanais-refrains-happen-like.html)
A Prophet (Jacques Audiard, 2009)
(http://criticafterdark.blogspot.com/2010/08/prophet-jacques-audiard-2009.html)
Salt (Philip Noyce, 2010) (http://criticafterdark.blogspot.com/2010/08/salt-philip-noyce.html)
The Last Airbender (M. Night Shyamalan, 2010) (http://criticafterdark.blogspot.com/2010/08/last-airbender-m-night-shyamalan.html)
Claire's Knee (Eric Rohmer); Jenifer (Dario Argento) (http://criticafterdark.blogspot.com/2010/08/claires-knee-eric-rohmer-jenifer-dario.html)
The Big Bang (Dr. Who season finale) (http://criticafterdark.blogspot.com/2010/07/big-bang-dr-who-5th-season-finale.html)
The Ghost Writer (Roman Polanski, 2010) (http://criticafterdark.blogspot.com/2010/08/its-tony-bl-sorry-roman-pol-sorry-adam.html)
Post by: rse on Aug 24, 2010 at 02:26 AM
Ang Paglilitis ni Andres Bonifacio (The Trial of Andres Bonifacio, Mario O'Hara, 2010): (http://criticafterdark.blogspot.com/2010/08/ang-paglilitis-ni-andres-bonifacio.html)
I hope they release this on DVD so I'd have a chance to see this. Although I'm not a major fan of his later works, I love his early works (and also most of Babae sa Bubungang Lata.)
I have no problems with being theatrical. I'm a Bergman fan and I think that he's theatrical. But if it's something like Lars von Triers theatricality in his Dogville and Manderlay then I'll pass. For me there's theatrical and there's filmed stage play.
Post by: Noel_Vera on Aug 24, 2010 at 11:38 AM
I've no problem with a filmed stage play; some of the titles I mentioned are in fact filmed performances (I'd throw in Scorsese's The Last Waltz). You can have something as simple as a stage, an actor, and a chair and if your filmmaker is gifted, the results are cinematic--you can even do without the chair.
Post by: R2 on Aug 25, 2010 at 05:44 AM
Olivia Lamasan, 1995
The pursuit of happiness - this,in a nutshell,is what this surprisingly moving film is all about. What appears to be,on the surface,just another melodramatic love story turned out to be an eye-opening treatise on the continuing Filipino experience that is the diaspora.
The story revolves around two lovers - a young,upwardly-mobile professional and his less successful but dedicated girlfriend. Aside from a demanding career,he has a pretty boss,and he is also beholden to his family,not to mention the possessive mother. Meanwhile,she just lost her father,and was petitioned by her estranged,US-based mother to join her and her new family. She grudgingly relented,despite her misgivings and the risk to their engagement.
What followed is a journey that initially separates them physically,then emotionally, until it took its toll later on. Will they make it together again?
The movie's strongest suit is its narrative tour de force - tight storyline,insightful subject matter,carefully-chosen dialogues,instructive character arcs. The dramatic scenes are well-handled; high melodrama,yes,but Lamasan made sure there is no excess fat, yet not too lean either.
Equally crucial was the lead performances by Aga Muhlach and Lea Salonga,which anchored the film. Muhlach's role is not a flashy one,yet his sensitive performance was such a marvel to watch. And Salonga is such a revelation in this film; her character's transformation was so heartbreaking. With this movie (made a few years after her West End/Broadway stints),she proved that she can have a career other than as Miss Saigon. She merited a well-deserved Gawad Urian best actress nomination for this film,though it was Muhlach (best actor) and Lamasan(director) who brought home the trophies,as well as the scriptwriters and the movie's producers (best picture).
Post by: Noel_Vera on Aug 25, 2010 at 12:05 PM
Did you think Salonga's performance inspired sympathy? Maybe just me, but I felt she's a bit of a cold fish, even here.
Post by: rse on Aug 26, 2010 at 12:00 AM
Post by: Noel_Vera on Aug 26, 2010 at 05:19 AM
Post by: halvert on Aug 27, 2010 at 08:50 PM
Post by: Noel_Vera on Aug 28, 2010 at 04:37 AM
Post by: R2 on Aug 29, 2010 at 03:47 AM
Post by: technosprite on Aug 29, 2010 at 02:11 PM
I can't imagine any other actress playing Lea's role; her team-up with Aga (in this film, as well as in the earlier Bakit Labis Kitang Mahal?), is one of the handsome actor's most successful. I also like his pairings with Aiko Melendez, Mikee Cojuangco, and Regine Velasquez.
lea's acting in "sana" is so far her best on-screen. but it is aga's heartfelt performance that stands out in the film. tina paner, cherie pie picache and even william martinez are also good.
Post by: Noel_Vera on Aug 29, 2010 at 02:49 PM
I also like his pairings with Aiko Melendez, Mikee Cojuangco, and Regine Velasquez.
I'd second the pairing with Regine, and say it's as much the director and writer (Joyce Bernal, with writer Mel Mendoza del Rosario) as chemistry that makes the movies work. Oh, chemistry is important, but to have a good script, with enough witty dialogue in them, and move things along at a brisk and frothy pace--tragedy's easy, comedy's hard.
Aga himself is--well, he's okay. He really shines in comedies, where his pretty puppy dog good looks can be used to comic effect (In drama the lines in one's face work for one's performance, in general, where a lineless face is actually a liability).
Post by: R2 on Aug 29, 2010 at 04:06 PM
Post by: keating on Aug 29, 2010 at 04:53 PM
I'm attending. ;)
(http://i103.photobucket.com/albums/m132/keating_01/urianbook3.png)
Post by: wedge on Aug 30, 2010 at 12:13 AM
Post by: R2 on Aug 30, 2010 at 03:12 AM
Post by: Noel_Vera on Aug 30, 2010 at 12:30 PM
Post by: keating on Aug 31, 2010 at 03:30 AM
Is the book going to be available commercially? Baka kasi like the second volume of Nick De Ocampo's history of the Philippine Cinema, only the first one was released eh.
It will be available commercially but depends on the stock, I think.
The size of the book is 9x12 and has 584 pages with more than 500 photographs in duotone. According to UP Press, it may cost P2,400. on the launching date only and discounted. There are only 500 copies printed,
according to Kuya Cesar Hernando.
Expect wedge that this will be OOP like the first Gawad Urian Anthology.
Post by: oggsmoggs on Sep 03, 2010 at 05:57 PM
Post by: X44 on Sep 04, 2010 at 08:59 PM
Post by: R2 on Sep 10, 2010 at 03:08 AM
Post by: oggsmoggs on Sep 13, 2010 at 07:23 PM
Post by: oggsmoggs on Oct 05, 2010 at 04:50 PM
Post by: Noel_Vera on Oct 12, 2010 at 11:06 AM
My Rico Ilarde article on Senses of Cinema (http://www.sensesofcinema.com/2010/feature-articles/z-man/)
James Batman (Artemio Marquez, 1966) (http://criticafterdark.blogspot.com/2010/08/james-batman-artemio-marquez-1966.html)
Survival of the Dead (George Romero, 2009) (http://criticafterdark.blogspot.com/2010/10/survival-of-dead-george-romero-2009.html)
Antichrist (Lars von Trier, 2009) (http://criticafterdark.blogspot.com/2010/10/antichrist-2009-lars-von-trier.html)
Splice (Vincenzo Natali, 2009) (http://criticafterdark.blogspot.com/2010/08/sugar-and-spice-and-everything-nice.html)
An Education (Lone Sherfig, 2009) (http://criticafterdark.blogspot.com/2010/09/education-lone-sherfig-2009.html)
Despicable Me (Pierre Coffin, Chris Renaud, 2010) (http://criticafterdark.blogspot.com/2010/09/despicable-me-pierre-coffin-piearre.html)
Akira Kurosawa Film Festival (http://criticafterdark.blogspot.com/2010/09/akira-kurosawa-film-festival-sept-15-30.html)
Summer of '42 (Robert Mulligan, 1971) (http://criticafterdark.blogspot.com/2010/09/summer-of-42-robert-mulligan-1971.html)
100 thriller novels (http://criticafterdark.blogspot.com/2010/10/thriller.html)
Vampires Suck (Jason Freidberg, Aaron Seltzer, 2010)
(http://criticafterdark.blogspot.com/2010/09/vampires-suck-jason-friedberg-aaron.html)
Post by: Noel_Vera on Oct 25, 2010 at 09:37 AM
Post by: halvert on Oct 25, 2010 at 04:34 PM
2) right now, the top movie is petrang kabayo. box-office-wise, star cinema's "i miss you like crazy" is on top at P140 million followed by " here comes the bride" with P120 million according to a post on peyups.com
Post by: Noel_Vera on Oct 26, 2010 at 10:18 AM
Post by: rse on Oct 30, 2010 at 01:43 AM
It’s long, and most of the times stubbornly so. Since some of the scenes are needlessly overlong, they become tedious and repetitive thus lose their power. It’s not without merits. It’s very philosophical and boasts a lovely black and white cinematography and good performances. I think with some judicious editing, this movie could still be great but more people will actually would want to watch it. As it is, its appeal will surely be limited to select hardcore art-house avant-garde fanatics only.
Post by: Noel_Vera on Oct 31, 2010 at 12:25 AM
Post by: rse on Oct 31, 2010 at 01:06 AM
You've seen his other kilometric works?
Seen Batang Westside....which is long, but justifiably so. Next to see: Heremias.
Post by: Noel_Vera on Oct 31, 2010 at 08:37 AM
Post by: oggsmoggs on Nov 02, 2010 at 12:05 AM
Post by: oggsmoggs on Nov 03, 2010 at 05:05 PM
Post by: ciconneguy on Nov 05, 2010 at 11:20 PM
It will be available commercially but depends on the stock, I think.
The size of the book is 9x12 and has 584 pages with more than 500 photographs in duotone. According to UP Press, it may cost P2,400. on the launching date only and discounted. There are only 500 copies printed,
according to Kuya Cesar Hernando.
Expect wedge that this will be OOP like the first Gawad Urian Anthology.
retail price is 3,250 pesos. initially available at local bookstores. currently out of stock. got mine only a few days ago. lucky to have found a copy. i was told there are only 2 copies sent to the bookstore - one is reserved already.
Post by: keating on Nov 07, 2010 at 09:21 AM
Post by: ciconneguy on Nov 08, 2010 at 12:51 AM
Hi cicconeguy. We went finally last time at broadcast city in Capitol Hills. Most of the umatic tapes were stored just below the stairs in channel 13.
hey keating! ikaw ba yung kasama ni marti? sayang di ako nakasama. may work kasi. hopefully next time... :)
Post by: keating on Nov 10, 2010 at 10:24 AM
Post by: oggsmoggs on Nov 13, 2010 at 01:18 AM
Post by: oggsmoggs on Nov 16, 2010 at 12:19 AM
Post by: oggsmoggs on Nov 17, 2010 at 01:17 AM
Post by: oggsmoggs on Nov 20, 2010 at 12:23 AM
Post by: wedge on Nov 22, 2010 at 07:36 AM
Post by: wedge on Nov 25, 2010 at 03:18 AM
Post by: Noel_Vera on Nov 25, 2010 at 08:17 AM
Post by: wedge on Nov 25, 2010 at 09:40 AM
Post by: Noel_Vera on Nov 25, 2010 at 04:09 PM
Post by: wedge on Nov 27, 2010 at 10:16 AM
Post by: Noel_Vera on Nov 27, 2010 at 03:20 PM
Post by: wedge on Nov 27, 2010 at 03:32 PM
Post by: Noel_Vera on Nov 27, 2010 at 04:56 PM
Post by: wedge on Nov 28, 2010 at 07:19 AM
Post by: wedge on Nov 28, 2010 at 02:25 PM
If you look at the subtext--Chris de Leon trying to control Lorna Tolentino--it's really of a piece with de Leon's main themes, that of people attempting to manipulate other people.
Bilanggo sa Dilim's also an impeccable example of such a theme. I kind of like how its TV-movie feel brings a more sinister touch to the film.
Post by: Noel_Vera on Nov 28, 2010 at 04:07 PM
I submit tho that Hindi Nahahati is subversive in its own way--imagine a Viva melodrama where the theme is controlling your half sister.
Post by: oggsmoggs on Nov 29, 2010 at 01:09 AM
Post by: rse on Dec 12, 2010 at 04:42 AM
A technically well made cousin to Tanging Yaman. All the melodrama cliches are present including a number of over extended breakdown scenes. It's just too much for me.
Post by: keating on Dec 13, 2010 at 05:17 PM
Sa Yo Lamang
A technically well made cousin to Tanging Yaman. All the melodrama cliches are present including a number of over extended breakdown scenes. It's just too much for me.
Laurice lost it already. She was at her peak during the 80's. Still I want many people to see KUNG AKO'Y IIWAN MO her 2nd gig after KASAL. She may be overrated now but I'm lobbying for that film to be included on next year's screening of SOFIA.
Speaking of SOFIA had a blast with Teddy Co, RMN, Kuya Cesar Hernando and Sir Doy del Mundo last Saturday night at the CCP while they plan for the future screenings of SOFIA next year. Two long lost Elwood Perez flicks, one Mario O'hara...more obscure films from the 40's to the 80's are on the line-up. This is not to count the inventory of umatic tapes that will be turn over soon from IBC-13!
I commend these people and give them my highest respect for their love for classics of Philippine Cinema.
And that future Valentine screening....so cute and sweet. ;D
Post by: rse on Dec 14, 2010 at 01:40 AM
Laurice lost it already. She was at her peak during the 80's. Still I want many people to see KUNG AKO'Y IIWAN MO her 2nd gig after KASAL. She may be overrated now but I'm lobbying for that film to be included on next year's screening of SOFIA.
Speaking of SOFIA had a blast with Teddy Co, RMN, Kuya Cesar Hernando and Sir Doy del Mundo last Saturday night at the CCP while they plan for the future screenings of SOFIA next year. Two long lost Elwood Perez flicks, one Mario O'hara...more obscure films from the 40's to the 80's are on the line-up. This is not to count the inventory of umatic tapes that will be turn over soon from IBC-13!
I commend these people and give them my highest respect for their love for classics of Philippine Cinema.
And that future Valentine screening....so cute and sweet. ;D
Great news about SOFIA and its latest finds. :-)
Post by: Noel_Vera on Dec 14, 2010 at 08:17 AM
I have an idea, but I"m wondering if they found another one.
Post by: wedge on Dec 14, 2010 at 08:51 AM
Post by: oggsmoggs on Dec 15, 2010 at 08:37 AM
Laurice lost it already. She was at her peak during the 80's. Still I want many people to see KUNG AKO'Y IIWAN MO her 2nd gig after KASAL. She may be overrated now but I'm lobbying for that film to be included on next year's screening of SOFIA.
I wouldn't go so far as to say that Laurice lost it already. Her recent works show glimmers of the genius she was known for.
Post by: Noel_Vera on Dec 16, 2010 at 11:30 AM
Post by: keating on Dec 16, 2010 at 09:01 PM
Noel regarding the sofia screening, your guess is as good as mine. You'll be surprise.
Post by: rse on Dec 17, 2010 at 12:26 AM
Post by: keating on Dec 17, 2010 at 12:53 PM
Post by: oggsmoggs on Dec 18, 2010 at 03:28 AM
One lunch, she told us a story about Kasal. When Mario O'Hara asked her if she followed his script. She said yes. O'Hara then reprimanded her and told her that the scripts shouldn't be followed. It's just a guide. The director should take control.
O'Hara doesn't follow his script either. The present Paglilitis ni Andres Bonifacio is very different from the script. There was no Adarna in the script, none of the layers that presently exists in the film.
Post by: Noel_Vera on Dec 18, 2010 at 04:23 PM
Post by: keating on Dec 21, 2010 at 07:57 PM
Post by: rse on Dec 23, 2010 at 04:50 AM
Check it out here:
http://tfcnow.abs-cbn.com/moviedetails.aspx?showid=795&eid=18522
Post by: Noel_Vera on Dec 23, 2010 at 05:33 AM
Post by: keating on Dec 25, 2010 at 02:36 PM
Post by: rse on Dec 25, 2010 at 05:19 PM
Interesting to note that UNFAITHFUL WIFE remains Direk Peque's most personal favorite over his magnum opus Oro Plata Mata. Even among his circle of friends attest that Unfaithful Wife is underrated. People were expecting a lot of sex scenes but he's done with Scorpio Nights when it came out. And its not a bold film.Unfaithful Wife was a sort of bonus from Mother Lily.
There are enough sex scenes in Unfaithful Wife courtesy of Lala Montelibano. Anna Marie though has a few but very tamed compared to Scorpio nights.
Post by: rse on Dec 25, 2010 at 05:22 PM
http://tfcnow.abs-cbn.com/moviedetails.aspx?showid=753&eid=16569&rid=ce766acb-d5fa-4d52-bc57-d89ed1deae1d
Post by: Noel_Vera on Dec 25, 2010 at 06:17 PM
Post by: keating on Dec 25, 2010 at 06:23 PM
There are enough sex scenes in Unfaithful Wife courtesy of Lala Montelibano. Anna Marie though has a few but very tamed compared to Scorpio nights.
The sex scenes of Lala Montelibano was directed by the late Abbo dela Cruz.
Post by: rse on Dec 28, 2010 at 03:25 PM
I like it, I prefer it to Karnal. It's simpler and has no pretensions. The only major thing about it is that the lead actor has a quite boring screen presence. The lead actress has a natural beauty and the camera loves here. I like her unaffected acting. All the technical aspects of the film are top notch. Charito Solis and Chanda Romero are both great here.
Check it out here:
http://tfcnow.abs-cbn.com/moviedetails.aspx?showid=646&eid=12238
Post by: rse on Dec 28, 2010 at 06:09 PM
One of the better indie films that I've seen recently. A great companion piece to Brillante's TIRADOR.
The ensemble cast is great, but, I must say that Dennis Trillo, is a bit uncomfortable (miscast) with his role.
I will definitely look out for other movies by GB Sampedro.
You can buy the DVD here:
http://www.kabayancentral.com/video/others/cpotastigcm.html
Post by: rse on Dec 30, 2010 at 02:51 PM
An ok albeit convoluted comedy. Sarah and Juday's chemistry is quite good though.
Till My Heartaches End
A surprisingly watchable mainstream offering from Star Cinema. It's megged by the ever prolific Jose Javier Reyes. It even has an atypical ending for a romance movie.
Post by: wedge on Dec 30, 2010 at 06:19 PM
The sex scenes of Lala Montelibano was directed by the late Abbo dela Cruz.
I think Lala Montelibano's sex scenes in Unfaithful Wife are mostly exploitative, not to mention, only serves as a kind of a pointless fodder to the film than anything else. I was surprised that Anna Marie Gutierrez somehow kept her clothes on most of the time.
Post by: jdv1229 on Dec 30, 2010 at 06:35 PM
Post by: rse on Dec 31, 2010 at 03:30 AM
Unfaithful Wife wasn't intended as a sex film... Lala Montelibano's sex scenes were added solely for exhibition in the provinces.
That's why those scenes feel so "out-of-place", especially the "porno-type" background music.
Post by: Klaus Weasley on Dec 31, 2010 at 06:37 PM
01. Tinimbang Ka Ngunit Kulang (Lino Brocka)
02. Batch '81 (Mike de Leon)
03. Himala (Ishmael Bernal)
04. Tatlong Taon, Walang Diyos (Mario O'Hara)
05. Maynila sa Kuko Ng Liwanag (Lino Brocka)
06. Oro, Plata, Mata (Peque Gallaga)
07. Bayaning Third World (Mike de Leon)
08. Scorpio Nights (Peque Gallaga)
09. Insiang (Lino Brocka)
10. Ang Pagdadalaga ni Maximo Oliveros (Aureus Solito)
Post by: Noel_Vera on Jan 01, 2011 at 03:32 AM
Haven't seen Kisapmata ye?
Post by: Ashburndaride on Jan 01, 2011 at 08:34 AM
Post by: Klaus Weasley on Jan 01, 2011 at 08:56 AM
That's 'Tatlong Taong Walang Diyos"
Haven't seen Kisapmata ye?
Send me the DVD, I'll see it ASAP.
Post by: Noel_Vera on Jan 01, 2011 at 12:26 PM
It's a good list, Klaus.
Post by: wedge on Jan 01, 2011 at 02:00 PM
Send me the DVD, I'll see it ASAP.
It's on the Internet, if you know where to find it. ;)
Post by: R2 on Jan 03, 2011 at 02:19 AM
To end 2010, my updated Top 10 favorite Filipino films of all time:There's a separate thread for this topic. How about coming up with the best Filipino films of 2010 (which needs to be an annual poll here on pinoydvd), instead?
01. Tinimbang Ka Ngunit Kulang (Lino Brocka)
02. Batch '81 (Mike de Leon)
03. Himala (Ishmael Bernal)
04. Tatlong Taon, Walang Diyos (Mario O'Hara)
05. Maynila sa Kuko Ng Liwanag (Lino Brocka)
06. Oro, Plata, Mata (Peque Gallaga)
07. Bayaning Third World (Mike de Leon)
08. Scorpio Nights (Peque Gallaga)
09. Insiang (Lino Brocka)
10. Ang Pagdadalaga ni Maximo Oliveros (Aureus Solito)
Post by: R2 on Jan 03, 2011 at 02:44 AM
Mike De Leon (1984)
It was a rather rewarding experience to revisit this film, so very evocative of the era during which it was made and yet remains topical and is such a fine work of cinema in itself. It banked on the popularity of lead actress Vilma Santos and the critical anticipation attendant to every film by director Mike De Leon. Santos,playing against type,surprisingly pulled it off with quiet aplomb. She tends to fall victim to histrionic acting in her films prior to this, but in here she was reduced to effective underacting, complemented by an overall excellent ensemble cast. Laurice Guillen and Tony Santos,in particular were so good,they can't help but steal the scenes they're in.
De Leon's directorial style,which I tend to describe as vigorous,is in full display here. Apparently given full control of the project by an otherwise profit-oriented Mother Lily, he was let loose with a topic that is so daring for its time and engaged his audience with various themes ranging from labour relations to religion to unrequited love.
My only minor gripes with the movie is the ambiguity of its lead character,despite several scenes in the middle part that tried to give insight to her motivations, and the open-ended conclusion. Otherwise, it's a perfect film.
Post by: Noel_Vera on Jan 03, 2011 at 07:07 AM
Apparently given full control of the project by an otherwise profit-oriented Mother Lily
Mother's funny that way. O'Hara too she pretty much gives free reign. And De Leon wouldn't work any other way, anyway, so that's a given. Will walk away from a project just like that.
I don't see this as a Mike De Leon film, more a Pete Lacaba film. If you see this alongside say Orapronobis and Bayan Ko, I think you'll find they resemble each other more than they resemble the other films of their respective directors.
Post by: rse on Jan 05, 2011 at 05:34 AM
This is one of the better romantic comedy offering from Star Cinema this year. No wonder. It's directed by one of the best mainstream directors currently working today, Cathy Garcia Molina and I just read somewhere that it's written by the person who made ENDO.
It's formula but it relishes on it. Although I must say that the reaction of the characters to the grand revelation near the end almost ruined the movie for me but I reminded myself to remember the title of the movie. Then it's all ok.
Post by: wedge on Jan 05, 2011 at 10:56 PM
Post by: keating on Jan 06, 2011 at 07:46 PM
Still have nightmares after watching the PUNERARYA episode of SRR 12.
Post by: wedge on Jan 08, 2011 at 03:43 AM
Post by: joelsoldao on Jan 08, 2011 at 03:48 AM
Post by: wedge on Jan 08, 2011 at 04:27 AM
Post by: rse on Jan 08, 2011 at 04:37 AM
Check it out here:
http://tfcnow.abs-cbn.com/moviedetails.aspx?showid=448&eid=6060
Post by: keating on Jan 08, 2011 at 08:21 AM
Post by: rse on Jan 09, 2011 at 07:15 PM
This is probably one of the funniest mainstream movie that I've seen this year. The cast is a riot - Angelica Panganiban is a surprise. I didn't know that she can be that funny. Check it out!
Post by: Noel_Vera on Jan 10, 2011 at 11:52 AM
Best of 2010 (http://criticafterdark.blogspot.com/2011/01/best-of-2010.html)
Tron; The King's Speech; True Grit; The Town (http://criticafterdark.blogspot.com/2011/01/tron-legacy-kings-speech-true-grit-town.html)
Restrepo (http://criticafterdark.blogspot.com/2010/12/top-of-world-ma-tim-hetherington-and.html)
Centurion (http://criticafterdark.blogspot.com/2010/12/centurion-neil-marshall.html)
Black Swan; The Fighter; The Tourist; Voyage of the Dawn Treader (http://criticafterdark.blogspot.com/2010/12/black-swan-fighter-tourist-voyage-of.html)
Coup de Torchon (http://criticafterdark.blogspot.com/2010/12/coup-de-torchon-clean-slate-bernard.html)
What if Robert Towne wrote "The Empire Strikes Back?" (http://criticafterdark.blogspot.com/2010/12/what-if-robert-towne-had-written-empire.html)
Cinemanila 2010 (http://criticafterdark.blogspot.com/2010/12/cinemanila-2010.html)
Post by: R2 on Jan 11, 2011 at 02:51 AM
Any other members who could come up with their "Best of 2010" lists?
Post by: halvert on Jan 12, 2011 at 02:51 PM
I just saw RPG last night at one of the last few cinemas still showing it and it is freaking great! Sure the animation is not that flawless but it may be interpreted as simulating the gaming experience of a 3rd world PC with an old videocard. hehe! But the story, the character design, the Pinoy touches make me so proud of this movie!
The only thing I did not like is the casting of that Zaijan kid as the lead. He is just too young to play a grade 5 student.
Post by: X44 on Jan 13, 2011 at 10:04 AM
Post by: rse on Jan 13, 2011 at 11:52 PM
http://tfcnow.abs-cbn.com/moviedetails.aspx?showid=818&eid=19279
I haven't seen the whole movie yet but I sampled it and all the sex scenes seem to be intact and the video quality is quite good. There was one abrupt cut at around 46:58 minute marker that I've noticed though, maybe a problem in the source material. Too bad it's a bit of a crucial scene. It's the part where Anne Marie stopped Daniel Fernando from leaving. This version didn't show her grasping his hand and inviting him back into the "kulambo". Also the video of the last bits are a bit noisy.
Post by: X44 on Jan 14, 2011 at 10:55 AM
Saw Babaeng Putik. A well made pinoy erotic horror movie. The monster though is reminiscent of the Predator. Check it out:
http://tfcnow.abs-cbn.com/moviedetails.aspx?showid=753&eid=16569&rid=ce766acb-d5fa-4d52-bc57-d89ed1deae1d
Was this, by any chance, the uncensored version? :)
Post by: wedge on Jan 14, 2011 at 11:06 AM
Was this, by any chance, the uncensored version? :)
Is there an uncensored one?
Post by: rse on Jan 14, 2011 at 11:52 AM
Was this, by any chance, the uncensored version? :)
I don't know, I haven't seen it before. But normally tfcnow does not censor their movies.
Post by: keating on Jan 15, 2011 at 11:21 AM
This maybe the Holy Grail of the Scorpio Nights release (or at least the closest I've seen):
http://tfcnow.abs-cbn.com/moviedetails.aspx?showid=818&eid=19279
I haven't seen the whole movie yet but I sampled it and all the sex scenes seem to be intact and the video quality is quite good. There was one abrupt cut at around 46:58 minute marker that I've noticed though, maybe a problem in the source material. Too bad it's a bit of a crucial scene. It's the part where Anne Marie stopped Daniel Fernando from leaving. This version didn't show her grasping his hand and inviting him back into the "kulambo". Also the video of the last bits are a bit noisy.
The one that has the saliva exchange between Anna Marie & Daniel Fernando is the uncut one.
Post by: X44 on Jan 15, 2011 at 03:09 PM
Is there an uncensored one?
yup there is.
Post by: wedge on Jan 16, 2011 at 01:39 AM
yup there is.
Baka may copy si Rico. ;D I have a copy of the film somewhere, but I haven't started on it yet. I'm building up the mood again--after I marathoned three of his films (Cogon, Altar and Villa Estrella).
Post by: rse on Jan 26, 2011 at 07:11 PM
For those interested in seeing this, I bought my copy here:
http://www.tve.org/mp7/details.cfm?l=e&fid=1493
Post by: keating on Jan 28, 2011 at 07:33 PM
Post by: X44 on Feb 08, 2011 at 09:55 PM
Post by: keating on Mar 06, 2011 at 12:51 PM
There was an electrical power problem yesterday all the shows for that day were cancelled.
Post by: Noel_Vera on Mar 11, 2011 at 11:44 AM
Human Centipede (Tom Six, 2009) (http://criticafterdark.blogspot.com/2011/03/human-centipede-first-sequence-tom-six.html)
127 Hours (Danny Boyle, 2010) (http://criticafterdark.blogspot.com/2011/02/127-hours-danny-boyle-2010.html)
Black Swan (Darren Aronofsky, 2010); True Grit (Coen Brothers 2010) (http://criticafterdark.blogspot.com/2011/02/oscar-hoo-hah-black-swan-and-true-grit.html)
Dogtooth (Yorgos Lanthimos, 2009) (http://criticafterdark.blogspot.com/2011/02/dogtooth-yorgos-lanthimos-2009.html)
'Merika (Gil Portes); Condemned; Bulaklak sa City Jail (Mario O'Hara) (http://criticafterdark.blogspot.com/2009/12/three-by-nora-merika-gil-portes.html)
The Green Hornet (Michel Gondry, 2010) (http://criticafterdark.blogspot.com/2011/02/green-hornet-michel-gondry.html)
Gulliver's Travels (Rob Letterman, 2010) (http://criticafterdark.blogspot.com/2011/02/gullivers-travels-rob-letterman.html)
Tangled (Nathan Greno, Byron Howard) (http://criticafterdark.blogspot.com/2011/01/tangled-nathan-greno-and-byron-howard.html)
The Tourist (Florian Henckel Von Donnersmarck, 2010) (http://criticafterdark.blogspot.com/2011/01/tourist-florian-henckel-von.html)
Triangle; Shanghai Express; Morocco (http://criticafterdark.blogspot.com/2011/01/triangle-shanghai-express-morocco.html)
Post by: rusty on Mar 25, 2011 at 09:58 AM
Bagong Hari (The New King, Mario O'Hara, 1986) Special screening of U-matic copy. (http://criticafterdark.blogspot.com/2011/03/bagong-hari-mario-ohara-1986.html)
SOFIA's screening of the rare film by Mario O'Hara, BAGONG HARI will push through next Saturday, March 12 same time 2pm at the CCP.
There was an electrical power problem yesterday all the shows for that day were cancelled.
I can't believe I missed this. :( Any idea if they're screening the film again? Cinemanila, maybe?
Post by: Noel_Vera on Mar 25, 2011 at 12:11 PM
Post by: rse on Apr 24, 2011 at 08:32 PM
Sarah Geronimo and Gerald Anderson have chemistry but they are letdown by a very weak material. Weak even in Star Cinema romance comedy standard.
Post by: jas on Apr 25, 2011 at 11:23 AM
Busong is the indigenous Palawan concept of Fate or instant Karma. Nature reacts instantly to man's disrespect of nature and other men. Punay was born with wounds in her feet so that she cannot step on the earth. Her brother, Angkarang, carries her through a hammock, as he searches the changing landscape of Palawan in hoping to find a healer who can cure Punay. Different people help him carry his sister along the way- a woman looking for her husband, a fisherman who lost his boat and a young man who is searching for himself- and each one meets their fate. The first Palawanon indigenous film.
Trailer: http://twitchfilm.com/news/2011/04/cannes-2011-trailer-premiere-for-philippine-drama-busong-palawan-fate.php
Post by: rse on May 15, 2011 at 05:54 PM
Post by: Klaus Weasley on May 16, 2011 at 09:35 PM
Post by: jdv1229 on May 18, 2011 at 10:41 AM
Come, share and experience with your loved ones... SUMMER LOVE.
Post by: halvert on May 18, 2011 at 01:33 PM
"Ang Damgo ni Eleuteria" was named Best Picture for 2010 while Fe GingGing Hyde and Sid Lucero won top acting honors
http://showbizandstyle.inquirer.net/breakingnews/breakingnews/view/20110517-337045/Ang-Damgo-ni-Eleuteria-Fe-Ginging-Hyde-Sid-Lucero-top-Urian-awards (http://showbizandstyle.inquirer.net/breakingnews/breakingnews/view/20110517-337045/Ang-Damgo-ni-Eleuteria-Fe-Ginging-Hyde-Sid-Lucero-top-Urian-awards)
meanwhile their top 10 films of the 2000s are
1) “Batang West Side” (2001) by Lav Diaz
2) “Tuhog” (2001) by Jeffrey Jeturian
3) “Babae sa Breakwater” (2003) by Mario O’Hara
4) “Magnifico” (2003) by Maryo J. de los Reyes
5) “Ebolusyon ng Pamilyang Pilipino” (2004) by Lav Diaz
6) “Ang Pagdadalaga ni Maximo Oliveros” (2005) by Auraeus Solito
7) “Kubrador” (2006) by Jeffrey Jeturian
8) “Serbis” (2008) by Brillante Mendoza
9) “Kinatay” (2009) by Brillante Mendoza
10) “Lola” (2009) by Brillante Mendoza.
source: http://lifestyle.inquirer.net/artsandbooks/artsandbooks/view/20110516-336708/Manunuri_critics_name_10_best_Filipino_films,_top_actors_of_the_2000%92s (http://lifestyle.inquirer.net/artsandbooks/artsandbooks/view/20110516-336708/Manunuri_critics_name_10_best_Filipino_films,_top_actors_of_the_2000%92s)
Post by: rse on May 24, 2011 at 12:36 AM
I haven't seen my old VCD for a long time but what I can say from memory is that this DVD is superior to the old release. The transfer is better and it has English subtitles (although it burnt-in). The audio is a bit muddle in parts. Also included are scene selections and photo gallery.
Post by: Noel_Vera on May 24, 2011 at 12:31 PM
Post by: rse on May 24, 2011 at 09:58 PM
Nice to know that. I could barely see anything in the VCD.Also maybe it's my memory failing but the DVD seems to be more explicit than the VCD. I don't remember the VCD having a lot of love scenes. The DVD has a few including a montage of Maria Isabel Lopez'.
Post by: jdv1229 on May 25, 2011 at 04:58 PM
Ipinahayag ni Mother Lily ng Regal Films kamakailan ang kanyang suporta sa pagtataguyod ng film preservation sa Pilipinas. Sa pakikipagtulungan ng SOFIA (Samahan Ng Mga Filipinong Arkivista Para Sa Pelikula, Inc.) na pinamumunuan ni Dr. Clodualdo del Mundo, Jr., nais ipahatid ni Mother Lily ang kahalagahan nito sa pamamagitan ng isang natatanging pagtatanghal ng pelikulang Summer Love ni direktor Elwood Perez sa darating na Hunyo 11 ika-6 ng gabi sa Cultural Center of the Philippines.
Ayon kay Mother Lily, “Bilang prodyuser, nauunawaan ko ang kahalagahan ng film preservation sa dahilang nakagawa ng pelikula sa Regal ang ilan sa mga pinakamahusay na direktor ng bansa tulad nina Ishmael Bernal at Joey Gosiengfiao, gayundin sina Lino Brocka at Peque Gallaga hanggang kina Mike de Leon at Elwood Perez. Nakakalungkot isiping hindi na muling mabibigyan ng pagkakataon ang bagong henerasyong mapanood ang mga pelikulang ginawa namin noong dekada ’70 at ’80.”
Si Mother Lily ang kauna-unahang prodyuser ng pelikula sa bansa ang nagpaabot ng suporta sa adhikain ng SOFIA upang maitaguyod ang film preservation.
Personal din nitong pinamamahalaan ang archive ng kanyang mga pelikula samantalang ang anak na si Roselle naman ang namumuno sa pagsasalin ng mga ito sa digital format.
Ang Summer Love ay kaisa-isang pelikulang nawawala sa Regal library nang masunog ang istudyo noong huling bahagi ng dekada ’80 hanggang sa matagpuan ng SOFIA ang kopya ng pelikula sa U-matic format noong nakaraang taon. Ngayon ay muling mabibigyan ng pagkakataon ang manonood na masaksihan ang pelikulang kinunan sa makasaysayang lungsod ng Taal, Batangas na siyang nagbigay daan sa mga pelikulang pang-kabataan at nagpasimuno sa pinakamainit na tambalan ng dekada ’80: Sina Snooky at Gabby Concepcion at sina Maricel Soriano at William Martinez. Nang minsang bumisita si Mother Lily sa set ng pelikula ay nagustuhan niya ang lugar na siyang nagtulak sa kanya upang bumili ng ari-arian hanggang sa maitayo ang Imperial Resort. Itinanghal siyang anak ng Taal at nitong nagdaang Abril ay pinamunuan ang kauna-unahang pista ng El Pasuba. Maliban sa Taal, itinampok din sa pelikulang Summer Love ang La Union at Baguio na madalas pasyalan sa tuwing sisbol ang tag-araw.
Ang pagsasanib puwersang ito ng Regal Films at SOFIA ang magbibigay daan upang maipaabot ang importansiya ng film preservation sa bansa na magsisilbing salamin sa yaman ng kulturang Pilipino.
Post by: rse on May 26, 2011 at 02:33 AM
MOTHER LILY TODO SUPORTA SA FILM PRESERVATION
Ipinahayag ni Mother Lily ng Regal Films kamakailan ang kanyang suporta sa pagtataguyod ng film preservation sa Pilipinas. Sa pakikipagtulungan ng SOFIA (Samahan Ng Mga Filipinong Arkivista Para Sa Pelikula, Inc.) na pinamumunuan ni Dr. Clodualdo del Mundo, Jr., nais ipahatid ni Mother Lily ang kahalagahan nito sa pamamagitan ng isang natatanging pagtatanghal ng pelikulang Summer Love ni direktor Elwood Perez sa darating na Hunyo 11 ika-6 ng gabi sa Cultural Center of the Philippines.
Ayon kay Mother Lily, “Bilang prodyuser, nauunawaan ko ang kahalagahan ng film preservation sa dahilang nakagawa ng pelikula sa Regal ang ilan sa mga pinakamahusay na direktor ng bansa tulad nina Ishmael Bernal at Joey Gosiengfiao, gayundin sina Lino Brocka at Peque Gallaga hanggang kina Mike de Leon at Elwood Perez. Nakakalungkot isiping hindi na muling mabibigyan ng pagkakataon ang bagong henerasyong mapanood ang mga pelikulang ginawa namin noong dekada ’70 at ’80.”
Si Mother Lily ang kauna-unahang prodyuser ng pelikula sa bansa ang nagpaabot ng suporta sa adhikain ng SOFIA upang maitaguyod ang film preservation.
Personal din nitong pinamamahalaan ang archive ng kanyang mga pelikula samantalang ang anak na si Roselle naman ang namumuno sa pagsasalin ng mga ito sa digital format.
Ang Summer Love ay kaisa-isang pelikulang nawawala sa Regal library nang masunog ang istudyo noong huling bahagi ng dekada ’80 hanggang sa matagpuan ng SOFIA ang kopya ng pelikula sa U-matic format noong nakaraang taon. Ngayon ay muling mabibigyan ng pagkakataon ang manonood na masaksihan ang pelikulang kinunan sa makasaysayang lungsod ng Taal, Batangas na siyang nagbigay daan sa mga pelikulang pang-kabataan at nagpasimuno sa pinakamainit na tambalan ng dekada ’80: Sina Snooky at Gabby Concepcion at sina Maricel Soriano at William Martinez. Nang minsang bumisita si Mother Lily sa set ng pelikula ay nagustuhan niya ang lugar na siyang nagtulak sa kanya upang bumili ng ari-arian hanggang sa maitayo ang Imperial Resort. Itinanghal siyang anak ng Taal at nitong nagdaang Abril ay pinamunuan ang kauna-unahang pista ng El Pasuba. Maliban sa Taal, itinampok din sa pelikulang Summer Love ang La Union at Baguio na madalas pasyalan sa tuwing sisbol ang tag-araw.
Ang pagsasanib puwersang ito ng Regal Films at SOFIA ang magbibigay daan upang maipaabot ang importansiya ng film preservation sa bansa na magsisilbing salamin sa yaman ng kulturang Pilipino.
This is great news!
Post by: Noel_Vera on May 26, 2011 at 07:04 AM
Post by: rse on May 26, 2011 at 10:15 PM
Big budget horror movie from Star Cinema. Nothing special, very similar to the other Kris Aquino horror movies. The running gag of Gina Pareno uttering some of the most famous pinoy movie lines didn't work and all and out of place.
Tanging Ina Ninyong Lahat Last Na To
Not a total waste of time but there's nothing special about it. For completists only.
Super Inday and the Magic Bibe
I actually enjoyed this remake. The FX are not too distracting too.
Ang Darling Kong Aswang
All I can say is that the DVD transfer is quite good.
Darna at Ang Babaeng Tuod
It's more of a story of the Babaeng Tuod than Darna. Darna's role is more of a cameo than anything.
Petrang Kabayo
I don't remember the original but this remake is so bad and the humor is very "mean-spirited".
Post by: halvert on May 27, 2011 at 12:57 PM
I'd much rather watch Vilma Santos in "Haplos" or Lorna Tolentino in "Dyosa" anytime.
Post by: rse on May 30, 2011 at 10:28 PM
Post by: asintado08 on May 30, 2011 at 11:17 PM
Post by: rse on May 31, 2011 at 10:04 PM
Where do you get these movies?
Adela is commercially released on DVD.
Post by: rse on Jun 02, 2011 at 01:55 PM
I don't know if I like it or not. It plays like a campaign material for the most of its parts. The script is a bit convoluted as well. The location distracts me because I saw it filmed better in Lola. It's very well acted though by Coco Martin, Cheri Pie and Joem Bascon.
Post by: jdv1229 on Jun 06, 2011 at 08:08 AM
REGAL MATRIARCH MOTHERS NEW BABY
Regal Matriarch Lily Yu Monteverde, the iconic "Mother Lily" to Philippine movie industry insiders largely responsible for launching young stars known as Regal Babies now adds SOFIA to her roster of names to be given proper build-up. SOFIA, an acronym for the Society of Filipino Archivists for Film is the recipient of benevolence from Regal Entertainment as Mother Lily spearheads its campaign to retrieve and restore otherwise neglected Filipino films and bring to fore to need to house this segment of our cultural heritage in a secure and healthy repositorium. SOFIA headed by Dr. Doy del Mundo, Jr. has chosen the Cultural Center of the Philippines as the launching pad for its initial fund drive on June 11 at 6pm with a special screening of the "erstwhile lost, recently found teenage classic" , Elwood Perez' 1982 film Summer Love. Dr. Marti Magsanoc re-discovered and eventually initiated the restoration of this definitive 80's teen flick that jumpstarted the Snooky Serna-Gabby Concepcion, Maricel Soriano-Wiliam Martinez tandem and set the trend to a long succession of Regal love teams and Regal babies. This touristy fun romp was shot in Taal, Malolos, Angeles, Baguio La Union and Manila.
Post by: Klaus Weasley on Jul 03, 2011 at 08:47 PM
Post by: Noel_Vera on Jul 04, 2011 at 06:15 PM
I do think it's demented.
Post by: halvert on Jul 05, 2011 at 12:51 PM
I feel the remake will pale in comparison mostly because the role of Joshua will be reprised by John Lapus who isn't sosyal. Though I can't seem to think of anyone who'd be perfect...Joey Reyes? Fritz Ynfante? Tim Yap?
Post by: Klaus Weasley on Jul 17, 2011 at 04:51 PM
Post by: geckoph on Jul 17, 2011 at 08:06 PM
The Woman in the Septic Tank ("Ang Babae sa Septic Tank") (Marlon Rivera) ***1/2 - I saw this today in Cinemalaya. An ambitious director, his producing partner and a production assistant set out to make an indie film about a widowed woman so desperate and poor, she sells one of her children for sex with a pedophile. They bicker on the script and argue about casting then meet up with their prospective lead actress, Eugene Domingo, playing herself. This is an often very funny and biting film that both spoofs and satirizes indie flicks (specifically the "poverty porn" subgenre of Filipino film) as well as certain aspects of Filipino cinema and the entertainment industry. I have to give it to Ms. Domingo for being willing to mock herself with such delight. I highly recommend you guys try to catch this one.
Is this still being shown? Will this film be released in Robinson's MovieWorld or SM Cinemas?
Post by: Klaus Weasley on Jul 17, 2011 at 08:45 PM
Is this still being shown? Will this film be released in Robinson's MovieWorld or SM Cinemas?
It's CineMalaya screenings. It's being shown in CCP and Greenbelt 3. Here's the remaining sked of that particular film (I have the sked with me):
July 18 Greenbelt 3 6:30 PM
July 19 CCP MKP Hall 12:45 PM.
July 19 CCP Main Theater 6:15 PM
July 20 CCP Studio Theater 9:00 PM
July 21 Greenbelt 3 1:30 PM
July 22 CCP Main Theater 3:30 PM
July 23 CCP MKP Hall 6:30 PM
Hope this helps.
Post by: geckoph on Jul 17, 2011 at 10:06 PM
It's CineMalaya screenings. It's being shown in CCP and Greenbelt 3. Here's the remaining sked of that particular film (I have the sked with me):
July 18 Greenbelt 3 6:30 PM
July 19 CCP MKP Hall 12:45 PM.
July 19 CCP Main Theater 6:15 PM
July 20 CCP Studio Theater 9:00 PM
July 21 Greenbelt 3 1:30 PM
July 22 CCP Main Theater 3:30 PM
July 23 CCP MKP Hall 6:30 PM
Hope this helps.
thanks
Post by: X44 on Jul 23, 2011 at 01:11 PM
Busong (Aureus Solito) Searingly beautiful yet emotionally remote. I felt nothing all throughout the film except maybe an uneasiness at one or two instances where the Apichatpong cribbing gets profuse and overt and being terribly impressed at Aureus' conviction and dedication to his material. Louie Quirino's cinematography is amazing, though. Still, left me cold. * * 1/2
I-Libings (Rommel Sales): Visually flat, almost sloppy, overbearing music, rather ugly . . . but its second half comes emotionally alive. Uniformly fine acting specially from Glaiza De Castro and Earl Ignacio. * *
Niño (Loy Arcenas): I hate opera. I hate family dramas. I hate child actors. All of which figure prominently here. I loved it. Probably unflattering to compare it to Ang Lee during his arthouse prime but this reminds me a bit of Eat Drink Man Woman or even Olivier Assayas' Summer Hours, not in the sense that it blatantly copied elements (the lifting was more glaring in Busong) but in terms of the deft ensemble dynamics. Lewd and funny yet somehow sober, despite being increasingly prone to melodrama. Fides Cuyugan-Asensio is a delight and gets to deliver not only the film's funniest lines but the film's funniest line: "Paabot nga ng patis." You had to be there. * * * *
San Lazaro (Wincy Ong): Pitched somewhere between Edgar Wright and Chito Rono, albeit without the former's slavish geekiness and the latter's visual flair but also without the latter's foolish insistence to attempt million dollar CGI effects on several thousand pesos. Entertaining and surprisingly, or may be not so much, clever. There are two subtle twists in the end that are arguably more satisfying than anything by Shyamalamadingdong, perhaps because Wincy doesn't make too much of a fuss about revealing it. * * *
Ang Sayaw Ng Dalawang Kaliwang Paa (Alvin Yapan): Bizarre love triangle melding feminist poetry, dance and pop music that's really a broken valentine to obsolescence. * * *
Post by: X44 on Jul 23, 2011 at 01:12 PM
Post by: rse on Jul 31, 2011 at 05:52 PM
Post by: sharkey360 on Aug 23, 2011 at 04:07 PM
Post by: keating on Aug 23, 2011 at 07:19 PM
Post by: wedge on Aug 27, 2011 at 07:49 AM
Post by: Klaus Weasley on Oct 20, 2011 at 07:33 PM
http://www.youtube.com/user/gobitz69 (http://www.youtube.com/user/gobitz69) And I saw...
Kisapmata (Mike de Leon) **** -When a young man and a young woman get married, the woman's super-overprotective father meddles in their relationship. But family secrets underneath are much more sinister than what it seems. Now, I know why it's considered a landmark in Filipino cinema. Vic Silayan is absolutely terrifying as the "overprotective" father. I love that he never plays him as a one-dimensional monster but a full human being which makes him even MORE frightening. The film is extremely well-shot and features some stunning direction which produces an aura of uncomfortable tension althroughout. It's definitely in the running in my Top 5 best Filipino films of all time.
TWO QUESTIONS: Where's the DVD? And what exactly does the title mean?
Post by: Noel_Vera on Oct 21, 2011 at 07:28 AM
Post by: Klaus Weasley on Oct 21, 2011 at 11:58 AM
Translates to either Blink of an Eye or In the Blink of an Eye.
I know what it means, what I meant was, what's the significance of it?
Post by: Noel_Vera on Oct 22, 2011 at 08:31 AM
Post by: Klaus Weasley on Oct 29, 2011 at 01:41 AM
Post by: Noel_Vera on Oct 29, 2011 at 02:13 PM
Post by: Klaus Weasley on Oct 29, 2011 at 07:55 PM
Why aren't these two films on DVD?!?!?
Post by: Noel_Vera on Oct 30, 2011 at 12:09 PM
Post by: sharkey360 on Nov 07, 2011 at 09:43 AM
BAYAN KO: KAPIT SA PATALIM is not yet release on dvd. Your last resort is Cinema One or a copy of the film from vhs and beta.
Someone uploaded the film in segments at Youtube
http://www.youtube.com/watch?v=-DkrOCbgPP8
Post by: sharkey360 on Nov 07, 2011 at 10:40 AM
http://www.youtube.com/watch?v=DuKmwGSb4Ko
Post by: rusty on Nov 07, 2011 at 09:58 PM
Have you seen this?
http://www.youtube.com/watch?v=DuKmwGSb4Ko
Ang ganda, pre. Ganyan dapat ang MMFF entry. Trailer pa lang, panalo na :)
Manila Kingpin - The Asiong Salonga Story - Trailer
https://www.youtube.com/watch?v=HNXKQ0ZDAbY&feature=related
George Estregan Jr! Roi Vinson! John Regala! Kalesa chase! ;D
Post by: sharkey360 on Nov 10, 2011 at 09:47 AM
http://www.youtube.com/watch?v=drgo_sBy2no
Post by: Klaus Weasley on Nov 13, 2011 at 09:13 PM
Post by: halvert on Nov 14, 2011 at 01:54 PM
Post by: rse on Nov 18, 2011 at 05:07 AM
Post by: Klaus Weasley on Nov 18, 2011 at 09:23 PM
do you think this had a better shot at the oscars best foreign film than what we sent? (was it Noy starring coco martin or ded na si lolo?)
I doubt it but they DID nominate Dogtooth so I guess it was possible.
Post by: X44 on Dec 13, 2011 at 02:05 PM
Post by: rse on Dec 14, 2011 at 01:39 AM
Missed opportunity. I guess it will appeal to its target audience. Carmi Martin is delicious though and has the best lines.
Post by: Noel_Vera on Dec 14, 2011 at 12:44 PM
Post by: jas on Jan 18, 2012 at 06:36 AM
Sharmaine Buencamino is nominated for Best Supporting Actress for Niño.
The 6th Asian Film Awards ceremony will be held in Hong Kong on March 19, 2012.
Full list of 6th Asian Film Award nominees:
http://www.asianfilmawards.asia/2012/press-room/6th-asian-film-awards-nomination-list/
Post by: rse on Jan 25, 2012 at 10:42 PM
The one period indie film that I find more successful than this is "Concerto". Sometimes I guess that less is more.
Post by: keating on Jan 26, 2012 at 08:07 AM
The finale still has some magic realism which is a trademark on most O'Hara films.
Post by: rse on Jan 28, 2012 at 01:10 AM
I find also the narrator the weakest point in the film. Was that Mailes Kanapi? She's a great character actress but distracting on PAGLILITIS NI BONIFACIO.
The finale still has some magic realism which is a trademark on most O'Hara films.
The whole Moro-Moro/Ibong Adarna is quite distracting for me and a bit overused as a tool of symbolism.
Post by: rse on Feb 03, 2012 at 01:55 AM
The "single shot" although an impressive feat, felt a bit gimmicky at times. For example, it just so happened that the cousin arrived just in time with some extra sets of clothes for her to wear. Also I didn’t know if she was trying to drown her self or was just goofing around or moaning. If she was trying to commit suicide, I would have preferred a more “serious” talk from her dad. I would have preferred if the movie started when they're about to leave their house.
The movie featured some of the most impressive non-professional acting that I’ve seen in our indie film industry. The mother and father portrayals especially were real and touching. The dad was hilarious. The other supporting cast are also well cast. They were the ones who made the whole movie worked.
The movie was lacking some crucial details I think. It wasn’t mentioned once how Terya managed to get a visa for Germany. I know that immigration rules during these economic conditions are very strict and restrictive, but imagine getting a visa to marry someone you haven’t even met yet, not even seen on Skype but only on telephone conversations? That said, I must admit that I don’t really know the mechanics of the mail-order bride industry.
Terya and her cousin had a lot of lengthy conversations but never once the cousin asked where in Germany she’s heading and never gave specific tips/advice regarding life in Germany. I suspected that the lady is an illegal recruiter because she mentioned that she’s based in Italy in the city of Paris (or did I just misheard it?). She also didn't give any specifics during her conversations with Terya and that added to my assumption that she’s might be an illegal recruiter or even involved in some kind of human trafficking.
The village idiot was annoying and didn’t really add anything to the movie.
Post by: sharkey360 on Feb 03, 2012 at 10:52 AM
Four Filipino films will compete in the 62nd Berlin International Film Festival (Berlinale) next week, including one by 2009 Cannes Film Festival Best Director Brillante Mendoza.
In a statement, the Department of Foreign Affairs (DFA) said some 22 films “from all over the world” will be competing in the festival, which will be held from February 9 to 19. For the Philippines, Mendoza’s “Captive” will be pitted in the main competition.
The DFA said the film “hopes to regain Berlinale audiences’ attention to the excellence of filmmaking in the Philippines.”
“For almost the past three decades, the Philippines has not had a film entry in the Main Competition section. The first and only time it did was in 1983 with the film ‘Himala’ by award-winning director Ishmael Bernal. However, this year, ‘Captive’ is among the first batch of five films selected as official entries in the Main Competition,” it said.
The DFA described “Captive” as “a fiction film that retraces real-life events about a hostage drama in the southern Philippines.”
Entries
Meanwhile, the other three films that will be competing in different categories are as follows:
“Ang Babae sa Septic Tank” by Marlon Rivera (Forum Section)
“Nono” by Rommel Tolentino (Generation Kplus Section)
“Pusong Wazak!” by Khavn de la Cruz (Short Film Section).
“Ang Babae sa Septic Tank” stars Cinemalaya best actress Eugene Domingo and is Rivera’s directorial debut.
It is “a hilarious take on the Filipino indie (independent) film industry, its ups and downs, and the seemingly endless challenges that indie filmmakers face,” the DFA said.
Meanwhile, “Nono” tells “about a young child with a speech disability due to facial deformity, and his desire to join the oratorical contest during his school’s National Language Week celebration.”
The film bagged the Special Jury Prize in the 2009 Cinemalaya Film Festival, while Tolentino “is the first Filipino filmmaker who won the Clermonth Ferrand International Short Film Festival in France in 2009,” the DFA said.
De la Cruz’s “Pusong Wazak!”, according to the DFA, “is a classic love story between a gangster and a prostitute.”
Aside from the film entries, Edward Cabagnot, media arts director of the Cultural Center of the Philippines, will represent the country at the film festival as a member of the International Jury.
http://www.gmanetwork.com/news/story/246693/pinoyabroad/four-pinoy-films-to-compete-in-berlin-filmfest?ref=latest
Post by: keating on Feb 08, 2012 at 03:22 PM
"STARZAN was not the film that saved Regal from bankruptcy....Regal was never bankrupt!"- Mother Lily
Post by: rse on Feb 13, 2012 at 06:06 AM
Post by: anya618 on Feb 17, 2012 at 07:51 AM
Post by: rse on Feb 18, 2012 at 11:36 PM
Post by: Verbl Kint on Feb 25, 2012 at 10:48 AM
(http://d24w6bsrhbeh9d.cloudfront.net/photo/2880112_700b.jpg)
...we got on the front page of 9gag.com. ;D ;D ;D
Post by: dyango on Feb 25, 2012 at 11:46 AM
At yung sa boy tambling hinagis ang tsinelas at nagtambling sakto suot nya ulit. Ang nakakahanga duon yung tsinelas itinapon magkadikit at nakatayo pa din ;D ;D ;D ;D
Post by: geckoph on Mar 09, 2012 at 12:52 PM
Post by: halvert on Mar 09, 2012 at 03:26 PM
http://oggsmoggs.blogspot.com/2012/03/cinemalaya-resignation-letter.html (http://oggsmoggs.blogspot.com/2012/03/cinemalaya-resignation-letter.html)
Post by: geckoph on Mar 14, 2012 at 12:21 PM
"PRIDYIDER" starring: Carla Abellana, and Janice De Belen, kasama sina Tom Rodriguez, Daniel Matsunaga, at Venus Raj, Directed by: Rico Ilarde...
I wonder if this is a spin-off of Janice De Belen's "Shake, Rattle and Roll 1" episode?
Post by: sharkey360 on Mar 14, 2012 at 09:14 PM
One of Regal's upcoming film...
"PRIDYIDER" starring: Carla Abellana, and Janice De Belen, kasama sina Tom Rodriguez, Daniel Matsunaga, at Venus Raj, Directed by: Rico Ilarde...
I wonder if this is a spin-off of Janice De Belen's "Shake, Rattle and Roll 1" episode?
Perhaps nothing can beat the SRR1 episode in terms of concept, execution and horror. The 1984 story had eroticism as well.
Post by: geckoph on Mar 21, 2012 at 05:53 PM
#1. Vic, Ai-Ai & Bong join forces for 2012 MMFF?
-- http://www.philstar.com/funfare/article.aspx?articleid=789282&publicationsubcategoryid=70
#2. From Regal Films - ang unang pelikulang pag sasamahan nina MARIAN RIVERA at ng Top Rated KAPAMILYA Actor COCO MARTIN Directed by: Maryo J. De los Reyes!
Post by: Klaus Weasley on Mar 22, 2012 at 10:28 PM
Post by: pao9307 on Mar 22, 2012 at 10:47 PM
Post by: jas on Mar 23, 2012 at 10:36 AM
ABS-CBNnews.com
Posted at 03/20/2012
Eugene Domingo and Shamaine Buencamino won 2 major trophies at the 6th Asian Film Awards ceremony in Hong Kong on Monday.
Domingo took home the People's Choice most popular actress award for her performance in "Ang Babae Sa Septic Tank."
Buencamino won the Best Supporting Actress award for her role in "Niño."
Post by: rse on Apr 03, 2012 at 10:32 AM
Post by: jas on Apr 24, 2012 at 08:06 AM
By Walden Martinez Belen | Yahoo! Southeast Asia Newsroom
April 23, 2012
“Graceland,” a film by Filipino director Ron Morales, is getting good feedback at this year’s Tribeca Film Festival (TFF).
TFF Director of Programming Genna Terranova said, “I think it can connect to its audience because it is a thriller and thrillers are immediately acceptable by the audience.”
Another ace up its sleeve is the interesting story.
“There’s a bigger story going on in that movie. That’s an important story and hopefully people are going to walk away questioning what’s happening in that movie and being curious on what’s going on,” Genna observes.
She goes on, “‘Graceland’ is a very intense thriller that comes from the Philippines and we’re excited about it. We were surprised to find it in the Philippines and it has a unique story and point of view.”
Genna also thinks Morales, who wrote the film as well, belongs to a new set of filmmakers who fuse many genre elements in their movies.
She believes Morales, a graduate of Parsons and NYU film school, did a good job because his movie basically moved them. It is also not your “regular story” or “regular movie” that you see.
“I think the community here is excited about it and we are too to show this new film, ‘Graceland,’” reveals Genna.
The film stars indie actor Arnold Reyes, who plays a long-time driver of a politician. One day, he brings his daughter to work. He and his boss are ambushed. To make matters worse, their assailants kidnap the daughter by mistake. They demand ransom which the driver can’t afford. What will he do to save his daughter?
Making the cut at the 11th TTF is not easy. A TFF report says organizers sifted through 5,950 submissions around the world. A total of 3,090 were feature films while the remaining 2,860 were Shorts.
Thus, “Graceland’s” inclusion in the festival is a feat in itself. Geoff Gilmore, the festival’s Chief Creative Officer explained what the Festival represents.
“The Tribeca Film festival is always a multi-faceted genre and a spectrum of what you want to do. We really are a festival born with community but we are really a festival that is really about excited about innovation, about discovery and the work that means in terms of its usefulness in the industry. At the end of the day we want to accomplish at this year’s program quality and quality means a lot of different things. What makes a movie a Tribeca Film is that it has no limits. We have this spectrum that we can showcase and we are excited about that presentation in terms of what it means for the International and American Cinema.”
Another Filipino filmmaker, Ramona S. Diaz, will showcase her documentary, “Don’t Stop Believin’: Everyman’s Journey” at Tribeca. It is the story of Filipino singer Arnel Pineda who made it as main vocalist of iconic rock band Journey.
Post by: jas on Apr 24, 2012 at 08:13 AM
TRAILER PREMIERE FOR RON MORALES' INTENSE FILIPINO THRILLER GRACELAND
We've said it before and we're going to say it again: There is a wave of independent talent rising in The Philippines that is going to completely revolutionize the way the rest of the world understands cinema from the island nation within the very near future. Between established commercial talents like Erik Matti going the indie road, the rise of a new generation outside of the studio system thanks to ventures like the Cinema One Originals series and Filipino expats bringing their skills back in to the nation, the days when screen content was controlled by a small number of established studios are quickly ending.
One of those expat talents is Ron Morales, the New York based director of Santa Mesa. Morales keeps busy as a crew member on big studio productions in New York but he has returned to his homeland to scratch that directorial itch once again with the intense thriller Graceland.
Family man Marlon Villar (Arnold Reyes) is the long-time driver of Manuel Chango (Menggie Cobarrubias), a corrupt Filipino politician. One day, as he and his daughter accompany his boss' preteen daughter home, Marlon is ambushed and the wrong girl is kidnapped. The driver's life takes a sudden, terrifying turn which propels him into a horrifying downward spiral and - as events in his life unravel - Marlon, Chango, and their families become entangled in a game of deceit and betrayal that will leave no one innocent.
GRACELAND is the second feature from acclaimed writer/director Ron Morales, and stars Arnold Reyes, Menggie Cobarrubias, Dido de la Paz, Leon Miguel, and Ella Guevara.
TRAILER:
http://twitchfilm.com/news/2011/11/trailer-premiere-for-ron-morales-intense-filipino-thriller-graceland.php
Post by: Klaus Weasley on Apr 25, 2012 at 11:54 AM
Post by: rse on Apr 28, 2012 at 05:32 PM
Post by: Noel_Vera on Apr 29, 2012 at 10:19 PM
Post by: rse on Apr 30, 2012 at 12:16 AM
Praybeyt Benjamin. After Petrang Kabayo, Vice Ganda seems to be really following (borrowing) in the footsteps of Roderick Paulate. This is really a reworking of Kumander Gringa. Better than Petrang Kabayo, but that's not saying much.
Post by: rse on May 03, 2012 at 08:45 PM
Warning: spoilers aplenty. You've been warned, but if you want to save yourself 1hr & 10 mins of your life, I do encourage you to read on.
Raya Martin's Great Cinema Party is not really a movie. It's a glorified home video. This is the synopsis as I’ve remembered it.
The opening is quite interesting only for the fact that it showed stock footage of war-torn Manila for about 15-20 mins – aside from the fact that there was no sound. Then cut to a group of tourists (or at least they look like one), both foreign and local, who were goofing around some ruins in Corregidor with Carlos Celdran (as far as I am aware he holds a regular tour of the island). Then cut to a buffet dinner at an Old Spanish house, which apparently, had been used in filming some local and foreign productions in the past. A man started showing an album of old photographs of old movies actors and actresses who used to film there. The buffet of course included the world famous balut (in this case, in a weird, de-shelled, adobo-style serving) and some obligatory discussions about that dish. Then the camera pan up the sky and a deity-like Lav Diaz appeared above, welcoming people to the great cinema party. Then the action moved to Zambales. Some more people joined the group (I guess of filmmakers and film enthusiasts, although the only person I recognised was Brillante Mendoza – not really their fault but my ignorance of who-is-who in the indie world or so). The mostly indistinct conversations were mostly in English but you can’t really hear what they were talking about. I don't know if it's a camp fire but people seemed to be eating and drinking. It's very dark and the scenes were not lit at all. No one really talked about films except in passing when someone mentioned something about buying original DVDs and someone else said that she loves the Criterion Collection. Then blank screen for 10 mins or so, with background music, and then after a while, I saw traces of an outrigger boat, so I guess they’re on a beach area. Then just before it ended, there seemed to be a fireworks display. I can't really be sure because like I said, it’s really, really dark.
That's it. One hour and 10 mins of my life wasted. I've seen better photographed holiday video than this indulgence.
Post by: rse on May 05, 2012 at 03:07 PM
Post by: rse on May 07, 2012 at 01:45 AM
Post by: keating on May 07, 2012 at 08:19 AM
Post by: rse on May 08, 2012 at 12:10 AM
No narrative Ron, for THE GREAT CINEMA PARTY?!
Nope, it plays like a vacation home video. Really.
Post by: rse on May 10, 2012 at 12:53 AM
Post by: rse on May 14, 2012 at 11:43 PM
Post by: rse on May 17, 2012 at 05:32 PM
Post by: X44 on May 31, 2012 at 09:22 PM
Morrissey In Manila (http://"http://pelikula.blogspot.com/2012/05/murderous-desire-for-love.html")
Mondomanila (http://"http://pelikula.blogspot.com/2012/05/city-is-here-for-you-to-use.html")
Lawas Kan Pinabli (http://"http://pelikula.blogspot.com/2012/05/diaspora-is-such-lonely-word.html")
Kano: An American And His Harem (http://"http://pelikula.blogspot.com/2012/04/american-horror-story.html")
Gay Films (http://"http://pelikula.blogspot.com/2012/03/tickled-pink.html")
Post by: rse on Jun 10, 2012 at 02:31 AM
Post by: Noel_Vera on Jun 10, 2012 at 05:46 AM
Post by: rse on Jun 10, 2012 at 10:59 AM
I've only seen Mananabas. Which I didn't like. Judging from that alone (fair or unfair), he's no Ben Affleck.
I haven't seen Mananabas but Ive seen Ligalig and Panaghoy sa Suba. He overuses his camera. Hitman, he wrote, directed, produced & sang the theme song, so his indulgence is magnified to the max. It's not even campy.
I hate Ben Affleck as an actor bacause like Keira Knightly, he acts with his chin...but he's a very good director. He should stay behind the camera.
Post by: rse on Jun 12, 2012 at 04:11 AM
Post by: halvert on Jun 12, 2012 at 04:54 PM
Post by: jas on Jun 15, 2012 at 07:58 AM
Best Picture: “Ang Sayaw ng Dalawang Kaliwang Paa”
Best Actor: Paulo Avelino (for “Ang Sayaw ng Dalawang Kaliwang Paa”)
Best Actress: Maja Salvador (for “Thelma”)
Best Director: Alvin Yapan (for “Ang Sayaw ng Dalawang Kaliwang Paa”)
Best Supporting Actor: Art Acuña (for “Niño”)
Best Supporting Actress: Jean Garcia (for “Ang Sayaw ng Dalawang Kaliwang Paa”)
Best Screenplay: Alvin Yapan (for “Ang Sayaw ng Dalawang Kaliwang Paa”)
Best Cinematography: Arvin Viola (for “Ang Sayaw ng Dalawang Kaliwang Paa”)
Best Production Design: Maulen Fadul (for “The Natural Phenomenon of Madness”)
Best Editing: Lawrence Fajardo (for “Amok”)
Best Music: Christine Muyco and Jema Pamintuan (for “Ang Sayaw ng Dalawang Kaliwang Paa”)
Best Sound: Albert Michael Idioma and Addiss Tabong (for “Amok”)
Best Documentary: “Tundong Magiliw”
Best Short Film: “Sirip”
Post by: halvert on Jun 15, 2012 at 11:07 AM
Post by: keating on Jun 15, 2012 at 03:26 PM
I saw Ang Sayaw... And I wadn't impressed. Much prefer Nino. And paulo avelino as best actor? No. Give it to the guy in Amok. I felt chills and pity for his character all at the same time. And hello, Fides Cuyugan Ascencio in Nino gave the best performance last year!
I concur....the ensemble cast of AMOK deserves a standing ovation for their great performance. No left over!
Had to see NINO first, but yes, was not impressed with SAYAW NG DALAWANG KALIWANG PAA.
Post by: halvert on Jun 16, 2012 at 10:37 PM
Post by: halvert on Jun 17, 2012 at 01:09 PM
I concur....the ensemble cast of AMOK deserves a standing ovation for their great performance. No left over!
Had to see NINO first, but yes, was not impressed with SAYAW NG DALAWANG KALIWANG PAA.
I saw part of the Urian awards last night. Turns out everyone in the cast of Amok was nominated for supporting actor, even Dido De La Paz, who should have been nominated ofr Best Actor since he was the one who went amok. He could give lessons to "winner" Paolo Avelino who acted the same in Sayaw as he did in his soap opera or in Jerrold Tarog's Aswang. Parang patay ang mata. Really, Urian people? Even JM de Guzman and Kean Cipriano were nominated for Best Actor for Babae sa Septic Tank?!? I'd even choose Martin Escudero for Zombadings over Paolo Avelino's dull performance.
Post by: jdv1229 on Jun 17, 2012 at 07:42 PM
Post by: keating on Jun 18, 2012 at 07:53 PM
Post by: rse on Jun 19, 2012 at 01:07 AM
Post by: keating on Jun 19, 2012 at 07:57 PM
Mind-boggling!
Post by: jas on Jun 30, 2012 at 05:11 PM
http://twitchfilm.com/news/2012/06/a-family-beseiged-by-monsters-in-ultra-stylish-teaser-for-erik-mattis-tiktik-the-aswang-chronicles.php
What's interesting to note is that this is the first Filipino movie shot entirely on green screen. Will it look cool or will it suck? ;D
Post by: geckoph on Jul 27, 2012 at 03:31 PM
Post by: deweyfinn on Jul 29, 2012 at 03:58 PM
Kudos to Star Cinema for releasing two versions of Vilma Santos‘ much-anticipated first-ever suspense-horror film titled “The Healing”. I hope PIONEER FILMS and VIVA FILMS will follow Star Cinema's lead, rather than butchering a film.
then again that's Governor Vilma Santos they're dealing with.....
Post by: geckoph on Aug 13, 2012 at 09:39 AM
But the committee will also consider other films will get an A rating and will be commercially exhibited in August and September this year.
Oscar Award rules for the best foreign language film category stipulate that to qualify, the film must have been commercially exhibited for at least seven consecutive days during the period from October, 2011 to September, 2012.
As of July, the seven films in the short list are the following:
Sayaw ng Dalawang Kaliwang Paa (shown on October 26, 2011);
Manila Kingpin: Asiong Salonga Story (Dec. 25, 2011);
Segunda Mano (Dec. 25, 2011);
A Mother’s Story (Jan. 8, 2012);
The Witness (Mar. 21, 2012);
Captive (scheduled for a Sept. 5, 2012 playdate);
and Busong (commercial run still to be certified).
-- SOURCE: http://filmacademyphil.org/?p=4802
Post by: rse on Aug 27, 2012 at 11:34 PM
Virgin People (Celso Ad Castillo). On the surface it seems to aspire to be more but it's really just a well-made sexploitation film.
Can someone please explain to me what Boy Pickup is all about?
Post by: keating on Aug 28, 2012 at 11:33 AM
Its one of the best erotic films ever made. Part 2 and part 3 pale in comparison.
Post by: rse on Sep 05, 2012 at 12:02 AM
Post by: jas on Sep 09, 2012 at 06:13 AM
September 7, 2012
http://ph.omg.yahoo.com/news/%E2%80%98thy-womb%E2%80%99-gets-standing-ovation-in-venice.html
Nora, Mendoza win special awards in Venice:
September 8, 2012
http://ph.omg.yahoo.com/news/nora--mendoza-win-special-awards-in-venice.html
Post by: Klaus Weasley on Sep 09, 2012 at 06:56 PM
Post by: jas on Sep 29, 2012 at 08:40 AM
September 29, 2012
Auraeus Solito's "Busong" -- which was premiered last year at the Cannes International Film Festival's Directors Fortnight section -- continued its winning streak by running away with the grand prize in the recently concluded National Geographic All Roads Film Festival in Washington D.C.
The grand prize in the festival -- the Merata Mita Award -- was named after the late New Zealand filmmaker who championed the Maori film industry.
Full article:
http://ph.news.yahoo.com/blogs/the-inbox/filipino-film-wins-grand-prize-national-geographic-filmfest-172916962.html
Post by: Klaus Weasley on Oct 07, 2012 at 10:28 PM
Give Up Tomorrow (Michael Collins) ***1/2 - This is a documentary made in the tradition of The Thin Blue Line and Paradise Lost. It's about the miscarriage of justice, only this time it hits close to home for me. It tells the story of a young man (and 6 others) who were convicted of the brutal murder and rape of two young women but this guy could not have possibly committed it since the murders happened in Cebu and he was clearly seen in Manila, the capital city in a whole other island, by 40+ witnesses.. An eye-opening look into the justice system of my country. I always knew that there's lots of corruption and disgusting things happening in our government but I had no idea it was THIS bad. It's disturbing, infuriating and heartbreaking.
Post by: keating on Oct 09, 2012 at 10:35 AM
Post by: geckoph on Oct 17, 2012 at 10:39 AM
Gaydar
Hello, WOrld
Lukas Nino
(http://sphotos-b.ak.fbcdn.net/hphotos-ak-ash3/561509_471983479489052_488820303_n.jpg)
Post by: geckoph on Oct 24, 2012 at 11:39 AM
"Mariposa (Sa Hawla ng Gabi)" Official Teaser HD -- http://www.youtube.com/watch?v=Rqre9Qp0yQc
"EDSA XXX" | this is not a film by khavn | trailer -- http://www.youtube.com/watch?v=vd_8NOCjV9E
-----
via Mell T. Navarro
"ORO, PLATA, MATA", the HIGH-DEFINITION version restored with the help of abs-cbn archives, will be the opening film in CINEMA ONE ORIGINALS 2012, slated 3rd week of november, 2012, venue to be announced...
-----
via Mell T. Navarro
"SUPREMO" of Richard Somes (film bio of andres bonifacio, starring alfred vargas) is the OPENING FILM of cinemanila international film festival on Nov 27 at market-market cinema, bonifacio global city, taguig...
Post by: rse on Oct 25, 2012 at 11:26 PM
Post by: geckoph on Oct 26, 2012 at 10:25 AM
...NOVEMBER 28, 2012 is the opening event date of CINEMA ONE ORIGINALS 2012... Opening film is the restored/ high definition version of the 1982 peque gallaga classid "ORO, PLATA, MATA", written by jose javier reyes... the HD version of ishmael bernal's "HIMALA", also celebrating its 30th anniversary this year (like ORO), will also be shown in this festival, details to be announced asap!... mabuhay!!!
...confirmed na po ang SHANGRILA CINEMA as venue for the festival, working pa on ROBINSONS GALLERIA as possible additional cinema! mabuhay ang pinoy indie cinemaaaa!!!
Post by: geckoph on Nov 02, 2012 at 10:45 AM
"Mariposa (Sa Hawla ng Gabi)" Official Teaser HD -- http://www.youtube.com/watch?v=Rqre9Qp0yQc
"EDSA XXX" | this is not a film by khavn | trailer -- http://www.youtube.com/watch?v=vd_8NOCjV9E
"Slumber Party" Teaser 1- Cinema One Originals 2012 -- http://www.youtube.com/watch?v=gwMgFRok8rU
Post by: rse on Nov 04, 2012 at 06:28 PM
Post by: geckoph on Nov 12, 2012 at 12:31 PM
"Mariposa (Sa Hawla ng Gabi)" Official Teaser HD -- http://www.youtube.com/watch?v=Rqre9Qp0yQc
"EDSA XXX" | this is not a film by khavn | trailer -- http://www.youtube.com/watch?v=vd_8NOCjV9E
"Slumber Party" Teaser 1- Cinema One Originals 2012 -- http://www.youtube.com/watch?v=gwMgFRok8rU
"MATER DOLOROSA" Teaser -- http://www.youtube.com/watch?v=otWQITY9ZuE
Post by: rse on Nov 18, 2012 at 02:43 PM
Post by: rse on Nov 25, 2012 at 07:19 PM
Post by: halvert on Nov 28, 2012 at 02:59 PM
Post by: Klaus Weasley on Nov 30, 2012 at 09:14 PM
Post by: R2 on Dec 01, 2012 at 07:10 PM
Post by: Klaus Weasley on Dec 01, 2012 at 10:09 PM
Post by: Noel_Vera on Dec 04, 2012 at 10:59 PM
Post by: rse on Dec 17, 2012 at 05:06 AM
Post by: jdv1229 on Dec 29, 2012 at 09:32 PM
Post by: rse on Jan 15, 2013 at 06:24 PM
Post by: rse on Jan 18, 2013 at 11:17 PM
Star Cinema's "maindie" Amarosa is an incoherent mess. Frantic editing, derivative, unfocused & ridiculous situations. Avoid this one.
Of All The Things is a charming more mature romcom - a great comeback for Regine & Aga. Finally, a recent Joyce Bernal movie that I like.
Post by: jas on Jan 27, 2013 at 04:16 PM
"Metro Manila" is a British-Filipino production set entirely in the Philippines. "Metro Manila" competed against 11 other films in the said category, during the film festival held from January 17 to 27 in Park City, Utah.
Written by British director Sean Ellis and Frank E. Flowers, and produced by Chocolate Frog Films, the film tells a story of a man from the province engulfed by the chaos and treachery of the big city.
It stars Jake Macapagal, John Arcilla, and Althea Vega.
Poster:
(http://imageshack.us/a/img191/5431/metromanilasundancefilm.jpg)
Also found some 2012 articles regarding this film:
http://entertainment.inquirer.net/41835/%E2%80%98manila%E2%80%99-is-star-of-british-film
http://www.philstar.com/headlines/2012/11/29/876009/pinoy-film-makes-it-sundance
Post by: rse on Jan 27, 2013 at 05:55 PM
Post by: rse on Feb 01, 2013 at 01:34 AM
The new feature-length version of Pridyider, doesn't improve the original, it just bloats it. Although Andi Eigenmann shines in it. Watch the Bernal version instead.
Post by: halvert on Feb 01, 2013 at 05:37 PM
Post by: jdv1229 on Mar 08, 2013 at 07:31 AM
Post by: Noel_Vera on Mar 09, 2013 at 01:10 PM
Post by: jdv1229 on Mar 09, 2013 at 07:02 PM
Post by: Noel_Vera on Mar 14, 2013 at 12:10 AM
Post by: Klaus Weasley on Mar 23, 2013 at 09:57 PM
Post by: jas on Apr 02, 2013 at 09:05 AM
https://www.youtube.com/watch?v=Zt37VFLyc-M
Post by: halvert on Apr 08, 2013 at 10:20 AM
Post by: rse on Apr 09, 2013 at 12:25 AM
Post by: rse on Apr 14, 2013 at 11:07 PM
Post by: Noel_Vera on Apr 19, 2013 at 03:33 AM
Post by: Verbl Kint on Apr 19, 2013 at 02:32 PM
Aparisyon (Apparition) (Vincent Sandoval) **** - An exquisitely directed and acted Filipino independent film about nuns in a convent during the early '70s, just before Marcos declared martial law. The film is almost shot like a slow-burn horror film in a way and I can see the heavy influence of Black Narcissus which is probably the best nun movie ever made and I must say, *this* film is within striking distance of that which is, for me, VERY high praise. Yet another Filipino filmmaker to watch out for. It goes to show that Philippine cinema is still vibrant in the independent scene.
Will it be commercially available?
Post by: jas on Apr 19, 2013 at 03:01 PM
Will it be commercially available?
Aparisyon already had it's theatrical run last month. Not sure if they will release it on DVD.
Post by: rusty on Apr 19, 2013 at 03:08 PM
Will it be commercially available?
http://www.amazon.com/Aparisyon-Apparition-Special-International-Edition/dp/B00BFH4KBM
Post by: rse on Apr 22, 2013 at 01:54 AM
Thy Womb. It's nice to see Nora doing what she does best. The rest of the cast, even the nonprofessional actors were also very effective, except for Lovi Poe which I think was miscast (too young, too pretty). It would have been better if she's swapped roles with Mercedes Cabral. The movie tend to meander too much & some scenes just go on forever, but the exotic location & culture help keep one's interest. It's also distracting that the main cast were speaking Tagalog while the rest of the locals were speaking the local dialect. It takes away from the realism that it tries to achieve. Also, I don't know if it needs to show an explicit birthing scene twice. It would have been more effective if it was saved until the very end. Showing it twice made it lose its power to shock which I think is the intended effect than anything. A couple of scenes involving a cow leave a bad taste in one's mouth. I like the abrupt ending; it jolts you and leaves you unease.
Post by: halvert on Apr 22, 2013 at 02:37 PM
I didn't like the ending because a lot of the times the movie was sooooo slow and then when bembol is about to marry , it's like the film suddenly rushes to the delivery then- the end.
Post by: Noel_Vera on Apr 23, 2013 at 01:32 AM
and
Beware: Bed Sins (1985) (http://criticafterdark.blogspot.com/2013/04/beware-bed-sins-mario-ohara-1985.html)
Part of Jojo De Vera's weeklong retrospective of all things O'Hara
Post by: rse on Apr 23, 2013 at 02:31 AM
what i didn't get was how the poor couple was able to come up with was 200,000 pesos from selling their boat and the banig mats? They could have gone to the mainland and adopted a baby with that money and the parents wouldn't even be able to find them if they decide to take the child back.
I didn't like the ending because a lot of the times the movie was sooooo slow and then when bembol is about to marry , it's like the film suddenly rushes to the delivery then- the end.
I think it's only 150K. In any case, it was also from borrowing money & donations from the village. Yes, it's a stretch but I was willing to suspend my disbelief on that, but my biggest question is that, yes, they have managed to come up with the money, how are they going to repay their debtors then afterwards?
I think that the husband is against the idea of an adoption. He wants a kid of his own. I suspect that the real reason is that he just wants a second wife. I'm not familiar with the Muslim customs, but isn't it that one is allowed to have more than one wife if a man can support them? It's pretty obvious that he can't.
Post by: mbtorn on Apr 23, 2013 at 08:01 PM
Warning: This review might contain spoilers.
Thy Womb. It's nice to see Nora doing what she does best. The rest of the cast, even the nonprofessional actors were also very effective, except for Lovi Poe which I think was miscast (too young, too pretty). It would have been better if she's swapped roles with Mercedes Cabral. The movie tend to meander too much & some scenes just go on forever, but the exotic location & culture help keep one's interest. It's also distracting that the main cast were speaking Tagalog while the rest of the locals were speaking the local dialect. It takes away from the realism that it tries to achieve. Also, I don't know if it needs to show an explicit birthing scene twice. It would have been more effective if it was saved until the very end. Showing it twice made it lose its power to shock which I think is the intended effect than anything. A couple of scenes involving a cow leave a bad taste in one's mouth. I like the abrupt ending; it jolts you and leaves you unease.
A typical Brilliante Mendoza film...too many vignettes, intertwined local situations, unstructured story line....the saving grace is Ms. Aunor's excellent portrayal and the idyllic scenes where the movie was shot.
Post by: marj on May 31, 2013 at 11:50 AM
Aparisyon already had it's theatrical run last month. Not sure if they will release it on DVD.
APARISYON is already available on DVD.
Post by: Noel_Vera on May 31, 2013 at 01:33 PM
Post by: rse on Jun 14, 2013 at 01:22 AM
A Moment in Time This is probably one of the worst Star Cinema movies that I've seen in a while. And it's Rated B?
Post by: halvert on Jun 14, 2013 at 12:22 PM
Post by: jas on Jun 14, 2013 at 12:51 PM
APARISYON is already available on DVD.
Is there a local DVD release? I searched for this in my nearby Odyssey & Astro stores, but without success....
Post by: jas on Jun 16, 2013 at 08:14 AM
http://twitchfilm.com/2013/06/watch-the-first-teaser-for-ato-bautistas-memories-of-rain.html
Post by: jas on Jun 20, 2013 at 08:35 AM
Best Film - Ang Paglalakbay ng mga Bituin sa Dilim ng Gabi
Best Director - Adolfo Alix (Mater Dolorosa)
Best Screenplay - Mes De Guzman (Diablo)
Best Actor - Jericho Rosales (Alagwa)
Best Actress - Nora Aunor (Thy Womb)
Best Supporting Actor - Art Acuña (Posas)
Supporting Actress - Alessandra de Rossi (Mater Dolorosa)
Production Design - Dante Mendoza (Thy Womb)
Cinematography - Whammy Alcazaren (Colossal)
Editing - Aleks Castañeda (Kalayaan)
Music - Diwa de Leon (Baybayin)
Best Sound - Willy Fernandez, Bong Sungcang, Ferdinand Marcos Sabarongis (Florentina Hubaldo, CTE)
Best Documentary - Harana (Benito Bautista)
Best Short Film - Ritmo (Remton Siega Zuasola)
Natatanging Gawad Urian - Mila del Sol
Post by: halvert on Jul 07, 2013 at 05:26 PM
Post by: rse on Jul 16, 2013 at 02:19 AM
Post by: Verbl Kint on Jul 16, 2013 at 05:44 AM
Post by: Klaus Weasley on Aug 09, 2013 at 08:19 PM
Post by: deweyfinn on Aug 10, 2013 at 08:49 PM
Kung Fu Divas!!!
Saw the trailer for the upcoming Ai Ai delas Alas-Marian Rivera starrer...had to double-check to make sure I wasn't watching a HK or Korean film by mistake
Post by: halvert on Aug 22, 2013 at 09:51 PM
Meanwhile, anybody see Ang Huling Henya , starring rufa mae quinto? It's directed by the director af ang babae sa septic tank, daw.
Post by: Noel_Vera on Sep 05, 2013 at 09:59 PM
Post by: Klaus Weasley on Sep 22, 2013 at 02:12 AM
*NOTE: I got injured watching this movie at Shangri-La Mall. At one point in the film, I had to go to the bathroom. I was making my way down the steps when I neglected to see one last step and I tripped. I used both arms to break my fall and I hurt my left elbow. It wasn't so bad at first. I finished the film and even went to see Rush in Greenbelt. By the time I got out of that movie, the pain was really intense. I went to the emergency room. Thank God nothing was broken. It was a bone contusion i.e. a bruise. But it's still painful and I'm typing this with one hand. LOL.
Post by: halvert on Sep 22, 2013 at 03:18 PM
Post by: Noel_Vera on Sep 22, 2013 at 06:47 PM
Post by: Noel_Vera on Oct 03, 2013 at 12:21 AM
Post by: Klaus Weasley on Oct 26, 2013 at 10:55 PM
Post by: Noel_Vera on Oct 27, 2013 at 08:03 PM
Post by: Klaus Weasley on Oct 28, 2013 at 03:09 AM
Mentor? A seminar or was he a professor?
I workshopped under him. And I visit his house quite frequently to borrow DVD's. He knows me. I consider him a friend. Very nice man.
Post by: Noel_Vera on Oct 28, 2013 at 10:24 AM
Post by: Klaus Weasley on Nov 09, 2013 at 11:44 PM
Post by: Klaus Weasley on Nov 17, 2013 at 12:02 AM
Ganito Kami Noon, Paano Na Kayon Ngayon? (Eddie Romero) ***1/2 - The title is roughly translated as "This Is How It Was Then, What's It Like Today?" It's about poor Filipino country boy whose mom just passed away and being a bit of a dumbass, he accidentally burns down his house. And so begins his journey. One thing that surprised me about this film is that it is a COMEDY. Well, at least it starts out as a comedy but slowly becomes more and more serious as it goes along without you noticing. It's a very Filipino film from the get-go, very Filipiniana. However, the structure is kind of Fellini-esque in a way. Sometimes I find myself thinking, had Fellini been Filipino, it would probably be like this. Overall, it's an imperfect film (a bit overlong) but its message is still shockingly relevant today and imparts it without being preachy.
Ang Alamat ni China Doll (The Legend of China Doll) (Adolfo Alix Jr.) *** - I often complain films being too long. Though seldom do I complain about them being too short. Well, this is one of those times. Presented in a non-linear structure, the film is about a young woman who is a criminal turned state witness with the code name "China Doll" and engaged in a bizarre, sick triangle between an ambitious journalist and her police handler. The script is by Lav Diaz, director known for his very, very long films (9 to 11 hours long). I don't know if the director clipped the script but the film is 90 minutes long and I feel we only got a very fleeting glimpse of what really should have been a 2.5 hour (at least) epic to fully explore the many intricacies that this film only merely touched upon.
Post by: rse on Nov 18, 2013 at 11:25 PM
Ganito Kami Noon, Paano Na Kayon Ngayon? (Eddie Romero) ***1/2 - The title is roughly translated as "This Is How It Was Then, What's It Like Today?" It's about poor Filipino country boy whose mom just passed away and being a bit of a dumbass, he accidentally burns down his house. And so begins his journey. One thing that surprised me about this film is that it is a COMEDY. Well, at least it starts out as a comedy but slowly becomes more and more serious as it goes along without you noticing. It's a very Filipino film from the get-go, very Filipiniana. However, the structure is kind of Fellini-esque in a way. Sometimes I find myself thinking, had Fellini been Filipino, it would probably be like this. Overall, it's an imperfect film (a bit overlong) but its message is still shockingly relevant today and imparts it without being preachy.
How was the restoration?
Post by: Klaus Weasley on Nov 19, 2013 at 08:36 PM
How was the restoration?
Gorgeous!
Post by: Klaus Weasley on Dec 23, 2013 at 10:21 PM
Post by: Klaus Weasley on Dec 24, 2013 at 08:14 PM
Dukit (Armando Lao) *** - This is a unique biopic since the actual guy plays himself! (In fact, several people in his life play themselves). This tells the story of Waldo Tayug, a man who made a name for himself for his beautiful religious themed wood carvings. He makes those statues we see in churches. The film follows his story from childhood to present day but jumping back and forth in between time periods (and at times it's a bit confusing). Brillante Mendoza co-produced this film and directed by his script collaborator Armando Lao and Mendoza's docu-drama style shines through this one. It's imperfect but when it works, it works.
Ang Anino ng Kahapon (Shadows of the Past) (Alvin Yapan) ***1/2 - After her husband leaves to work abroad, a woman starts to exhibit symptoms of schizophrenia. This is from one of the Philippines' most promising indie directors, Alvin Yapan. I will definitely say that this is a far better cinematic depiction of schizophrenia than, say, A Beautiful Mind. I'm surprised by the terrific performance of Agot Isidro. Before now, I've never thought of her as that much of an actress but she was great. This one gets a very high recommendation from me.
Post by: rse on Dec 26, 2013 at 07:12 AM
Post by: rse on Dec 29, 2013 at 08:39 PM
Post by: Noel_Vera on Dec 30, 2013 at 04:59 PM
Post by: rse on Jan 07, 2014 at 10:35 AM
Post by: Noel_Vera on Jan 10, 2014 at 12:46 AM
Streaming on Netflix (with subtitles): three of the best Filipino films I know. Two will stop streaming come Jan. 15. One--Insiang--is in my opinion Brocka's masterpiece.
My thoughts on Insiang (https://groups.yahoo.com/neo/groups/noelmoviereviews/conversations/topics/338) (warning: plot and ending discussed in close detail)
Post by: Noel_Vera on Jan 17, 2014 at 02:42 AM
Post by: Noel_Vera on Jan 17, 2014 at 09:14 PM
Post by: Noel_Vera on Jan 24, 2014 at 03:14 AM
Post by: rse on Jan 25, 2014 at 02:16 AM
Post by: Noel_Vera on Jan 26, 2014 at 03:53 AM
Post by: rse on Jan 26, 2014 at 01:24 PM
Aw face it, rse--you're a Noranian!
I like them both in their own unique ways. Although I must say that Nora's latest works are much better than Vilma's. I just saw the trailer for Dementia and it looks promising.
Post by: Noel_Vera on Feb 03, 2014 at 09:39 PM
Post by: rusty on Feb 07, 2014 at 02:07 AM
Quote
MANILA, Philippines—True to its commitment to bring the best of television to every Filipino home around the world, TV5 takes a groundbreaking leap in producing STUDIO5 ORIGINAL MOVIES, a precious collection of quality-produced made-for-TV movies featuring Philippine cinema’s biggest stars and created by the country’s highly acclaimed filmmakers. (http://entertainment.inquirer.net/133662/the-best-of-cinema-comes-to-free-tv-via-studio5-original-movies)
It's nice to see some local scripted TV that is not in 'teleserye' form. I hope they take some risks along the way.
Post by: Noel_Vera on Feb 08, 2014 at 02:52 AM
Post by: halvert on Feb 10, 2014 at 04:32 PM
Ekstra. Jeffrey Jeturian directs Vilma's first indie movie. Interesting look at a days work of a bit player. Good, but missing something to be memorable.yup, saw this ,too... kulang ng real darkness or pain, di ko ma-explain.
or baka rin dahil masyadong star ang dating pa rin ni vilma, hindi mukhang extra. mas maganda yung 6 degrees of separation of lilia crapapay, that part where her interview was cut was more moving and sad.
and yes, maybe nora would have been more credible as an extra
Post by: rse on Feb 18, 2014 at 05:17 AM
yup, saw this ,too... kulang ng real darkness or pain, di ko ma-explain.
or baka rin dahil masyadong star ang dating pa rin ni vilma, hindi mukhang extra. mas maganda yung 6 degrees of separation of lilia crapapay, that part where her interview was cut was more moving and sad.
and yes, maybe nora would have been more credible as an extra
Agree.
Post by: rse on Feb 22, 2014 at 04:45 AM
Post by: Noel_Vera on Feb 23, 2014 at 01:42 PM
Post by: halvert on Feb 23, 2014 at 07:26 PM
Post by: rse on Feb 25, 2014 at 06:57 PM
Locsin makes Vilma look like a girl scout. I don't think Butch did Vilma any favors putting her in the same film as Rio.Agree, she seemed out of place in the movie. I heard somewhere that the original screenplay is a lot better than the finished movie. Also, the location, especially the river area reminded me of Apocalypse Now. Was it filmed in the same area?
Post by: Noel_Vera on Feb 28, 2014 at 10:46 PM
Post by: Noel_Vera on Feb 28, 2014 at 10:51 PM
Post by: rse on Mar 01, 2014 at 06:28 AM
Meanwhile, can anyone see the Vertigo influence here?
Yes, you're right. It has the Vertigo vibe.
Post by: halvert on Mar 01, 2014 at 02:01 PM
Post by: rse on Mar 01, 2014 at 09:02 PM
Where's jojo de vera? I'm sure he knows the original ending of Haplos...He's really missed here.
Post by: Noel_Vera on Mar 02, 2014 at 06:25 AM
I understand where they're coming from, but flaws and all, he was a valuable asset. He saved films; he promoted them. All their criticism and they never rescued anything, much less Brocka's Tubog sa Ginto. Which would I rather have around?
Post by: Klaus Weasley on Mar 07, 2014 at 12:16 AM
NORTE, END OF HISTORY SPECIAL SCREENINGS!
--------S C H E D U L E---------
All screenings begin at 6:30 PM
March 11 (Trinoma)
March 18 (Cebu)
March 25 (Greenbelt 3)
March 31 (Glorietta 4)
Post by: rse on Mar 11, 2014 at 02:54 AM
Post by: rse on Mar 15, 2014 at 05:17 AM
Post by: Clondalkin on Apr 01, 2014 at 01:15 AM
The accent of the main couple does not match with the role they are portraying, no disrespect.
I truly felt guilty thinking of my family's food spending while watching this movie.
Metro Manila. The heist aspect is more interesting than the milieu since there are glaring inaccurate details which are quite telling that this movie was done by someone who hasn't lived in Manila. There's an interesting sub-plot in this film that recalls a recent Raymond Red film.
Post by: rse on Apr 04, 2014 at 03:22 PM
Bakit lahat ng bad character ay parang laging galit at nang-aapi magsalita? That can't be realistic.
The accent of the main couple does not match with the role they are portraying, no disrespect.
I truly felt guilty thinking of my family's food spending while watching this movie.
I know, the accent bothered me too. They're supposed to be Ilocano right? I don't remember them talking in Ilocano at any time in the movie, even when they were up in the mountains together with the other locals.
Even the opening voiceover bothered me because they murdered a very famous Pinoy "salawikain", which should be "Sa pagkahaba-haba man daw ng prusisyon, sa simbahan din ang tuloy". In the movie, the main character said "paroroonan", instead of "tuloy". I know that it's a synonym, but if they're using a local saying, use it verbatim.
Also, finding an empty (unclaimed) & free decent-enough shanty house in the slum area for the protagonist's family to live in is nothing sort of miraculous, it's bordering on fairy tale territory.
...And an ex-military man can't be that naive...
Post by: rse on Apr 04, 2014 at 03:30 PM
My favorite film of 2013, Lav Diaz's 4-hour NORTE, THE END OF HISTORY is gonna screen every weekend of March in selected Ayala cinemas. I highly, highly recommend it.
NORTE, END OF HISTORY SPECIAL SCREENINGS!
--------S C H E D U L E---------
All screenings begin at 6:30 PM
March 11 (Trinoma)
March 18 (Cebu)
March 25 (Greenbelt 3)
March 31 (Glorietta 4)
I think it's one of the more accessible of Lav Diaz' movies.
Post by: Klaus Weasley on Apr 09, 2014 at 05:38 PM
(https://fbcdn-sphotos-c-a.akamaihd.net/hphotos-ak-prn1/t1.0-9/10245501_626611204058618_5085895200627616904_n.png)
Post by: juanch on Apr 11, 2014 at 09:28 AM
Maybe you can help me identify the title of a certain Filipino movie.
I was riding the bus the other week and I was actually intrigued with what I was watching.
It was all about a retired senior citizen who would usually play cards with his buddies.
And then one day he decided to open a Panaderia with his lifesavings.
Can someone name the movie?
Post by: halvert on Apr 11, 2014 at 10:51 AM
Post by: juanch on Apr 11, 2014 at 10:28 PM
Post by: halvert on Apr 12, 2014 at 01:12 AM
http://store.abs-cbn.com/products/Tuhog-DVD.html#.U0giQ74ayK0
Post by: Noel_Vera on Apr 21, 2014 at 04:06 AM
Post by: Noel_Vera on May 22, 2014 at 11:40 PM
Post by: Noel_Vera on May 23, 2014 at 02:52 AM
Post by: Noel_Vera on Jun 20, 2014 at 11:44 PM
(Norte, the End of History).
The film will have a one-week exclusive theatrical run at the Elinor Bunin Munroe Film Center (http://www.filmlinc.com/films/on-sale/norte-the-end-of-history) in New York from June 20-26, 2014.
A.O. Scott talks about the film in The New York Times (http://www.nytimes.com/2014/06/20/movies/norte-the-end-of-history-a-dostoyevskian-fable.html?_r=0).
Tomas Hachard too, on NPR (http://www.npr.org/2014/06/19/323345204/justice-proves-elusive-in-the-sprawling-norte).
Jonathan Romney on Film Comment (http://www.filmcomment.com/entry/norte-the-end-of-history-lav-diaz-review).
And--course I got to mention it--already wrote about this for Film Comment last October (http://www.filmcomment.com/article/lav-diaz-norte-the-end-of-history).
Post by: Noel_Vera on Jun 27, 2014 at 02:25 AM
Post by: rse on Jul 03, 2014 at 05:07 PM
Post by: rse on Aug 08, 2014 at 03:14 AM
https://www.youtube.com/watch?v=aOQVVfGZZvM (https://www.youtube.com/watch?v=aOQVVfGZZvM)
Post by: v1n5anity on Aug 11, 2014 at 07:43 PM
Post by: botlog on Aug 15, 2014 at 07:58 PM
Just saw OTJ (torrent/BD copy). Ganda! highly recommended! :D 8)
alin dun sir yung scene ni piolo at shaina? hehe
mahilig ba kayo sa classic, maganda kasi yung movie ni ace vergel with alma concepcion. body guard style sya na sya leader ng syndicate. parang my wife is a gangster style.
Post by: Klaus Weasley on Aug 16, 2014 at 11:16 PM
Post by: halvert on Aug 19, 2014 at 02:33 PM
Post by: Noel_Vera on Sep 06, 2014 at 04:34 AM
Post by: Noel_Vera on Sep 13, 2014 at 03:03 AM
Post by: rse on Sep 17, 2014 at 07:45 PM
Raya Martin : Indio Nacional + Independencia [DVD]
http://www.amazon.fr/Raya-Martin-Indio-Nacional-Independencia/dp/B00IIWEURQ/ref=sr_1_1?s=dvd&ie=UTF8&qid=1410954045&sr=1-1&keywords=Raya+Martin (http://www.amazon.fr/Raya-Martin-Indio-Nacional-Independencia/dp/B00IIWEURQ/ref=sr_1_1?s=dvd&ie=UTF8&qid=1410954045&sr=1-1&keywords=Raya+Martin)
Now Showing [DVD]
http://www.amazon.fr/Now-Showing-Ness-Roque/dp/B00IIWEUXA/ref=sr_1_2?s=dvd&ie=UTF8&qid=1410954045& (http://www.amazon.fr/Now-Showing-Ness-Roque/dp/B00IIWEUXA/ref=sr_1_2?s=dvd&ie=UTF8&qid=1410954045&)
Independencia [DVD]
http://www.amazon.co.uk/gp/product/B00JWUEOVK/ref=s9_simh_gw_p74_d0_i2?pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=center-2&pf_rd_r=03BV4DM8MM1CK7D0SHS2&pf_rd_t=101&pf_rd_p=455344027&pf_rd_i=468294 (http://www.amazon.co.uk/gp/product/B00JWUEOVK/ref=s9_simh_gw_p74_d0_i2?pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=center-2&pf_rd_r=03BV4DM8MM1CK7D0SHS2&pf_rd_t=101&pf_rd_p=455344027&pf_rd_i=468294)
Post by: Noel_Vera on Sep 17, 2014 at 10:35 PM
Post by: rse on Sep 18, 2014 at 03:23 PM
Fifty, sixty dollars? Well, they aren't Transformers. But it still hurts. And I suspect I need a region free player.
The UK-released DVD of Independencia is not that expensive, Region-free and comes with special features:
http://www.amazon.co.uk/gp/product/B00JWUEOVK/ref=s9_simh_gw_p74_d0_i2?pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=center-2&pf_rd_r=03BV4DM8MM1CK7D0SHS2&pf_rd_t=101&pf_rd_p=455344027&pf_rd_i=468294
The FR releases are quite pricey I agree and they're region coded, but there are ways to watch region coded dvds without buying a region free player, if you're a bit techy. The simplest is to use VLC player software for your PC/Mac: http://www.videolan.org/vlc/index.html
Post by: Noel_Vera on Sep 27, 2014 at 02:10 AM
Post by: Klaus Weasley on Sep 28, 2014 at 11:26 PM
Dementia (Percival M. Intalan) *** - This is a Filipino horror film about a woman suffering from early on-set dementia goes back to her hometown along with her younger cousin, which happens to be on a rather isolated island in Batanes (the northern most province of the Philippines). There she has to face the ghosts of her past, both figuratively AND literally. It is essentially a pretty rote, standard horror film with all the familiar narrative beats. But this film benefits from the acting talent of one of the Philippines' best actresses, Nora Aunor who gives the pulpy material its weight and substance. It is worth seeing for that alone (and for the travelogue-esque on-location cinematography).
Post by: rse on Oct 05, 2014 at 03:13 PM
Post by: Klaus Weasley on Oct 05, 2014 at 11:44 PM
Post by: Noel_Vera on Oct 06, 2014 at 02:17 PM
Post by: Noel_Vera on Oct 14, 2014 at 06:00 AM
In belated tribute to the Lincoln Center screening of his masterpiece Batang West Side (http://www.filmlinc.com/films/on-sale/batang-west-side)
Post by: Noel_Vera on Oct 25, 2014 at 03:38 AM
Post by: Noel_Vera on Nov 01, 2014 at 08:32 AM
For Halloween itself, the to my mind best Filipino horror film (http://criticafterdark.blogspot.com/2014/10/yanggaw-affliction-richard-somes-2008.html) in recent years.
Post by: halvert on Nov 01, 2014 at 02:02 PM
Post by: Klaus Weasley on Nov 01, 2014 at 11:24 PM
Post by: rse on Nov 07, 2014 at 02:09 AM
Post by: Noel_Vera on Nov 08, 2014 at 02:01 AM
Then one of my favorite (and possibly most indefensible choices--more about that in the article): Halimaw sa Banga (Monster in a Jar) (http://criticafterdark.blogspot.com/2014/11/halimaw-sa-banga-monster-in-jar-mario.html), where the title pretty much says it all.
Also of interest for those who care: wrote the first back in 1997, the second just a few days ago. The difference is clear, I hope.
Post by: halvert on Nov 08, 2014 at 10:32 PM
Post by: Noel_Vera on Nov 09, 2014 at 01:36 AM
we'd never hear from you again!
ya think? ;D
Post by: rse on Nov 15, 2014 at 04:47 PM
Post by: Klaus Weasley on Nov 15, 2014 at 09:45 PM
Post by: Noel_Vera on Nov 16, 2014 at 12:10 AM
Post by: Klaus Weasley on Nov 16, 2014 at 10:45 PM
Post by: Klaus Weasley on Nov 17, 2014 at 09:54 PM
Post by: Noel_Vera on Nov 22, 2014 at 04:27 AM
Post by: Noel_Vera on Nov 22, 2014 at 05:20 AM
Hindi Nahahati ang Langit (The Heavens Indivisible, 1985) (http://criticafterdark.blogspot.com/2014/11/hindi-nahahati-ang-langit-heavens.html)
Post by: Klaus Weasley on Nov 22, 2014 at 10:17 AM
I hear good things about Hindi Sila Tatanda and That Thing Called Tadhana, and Lorna; seen those?
I wasn't able to see those. I was gonna see That Thing Called Tadhana but the screening sold out. I'm sure it will get a commercial run in theaters.
Post by: Noel_Vera on Nov 22, 2014 at 11:46 PM
Post by: Klaus Weasley on Nov 23, 2014 at 12:27 AM
Not this year, apparently. Pity.
Maybe early next year. It was a huge hit in the festival.
Post by: Noel_Vera on Nov 23, 2014 at 10:04 AM
Post by: Noel_Vera on Nov 24, 2014 at 05:42 PM
My thoughts on the latest Game; plus my vote for best horror film of the year (http://criticafterdark.blogspot.com/2014/11/the-hunger-games-mockingjay-part-1.html)
Post by: Noel_Vera on Dec 09, 2014 at 03:02 AM
Birdman (Alejandro Gonzalez Inarritu), Fort Apache (John Ford), I Love Melvin (Don Weis) (http://criticafterdark.blogspot.com/2014/12/birdman-alejandro-gonzalez-inarritu.html)
Post by: Noel_Vera on Dec 29, 2014 at 11:43 PM
Kung Mahawi Man ang Ulap (Should the Skies Clear, 1984) (http://criticafterdark.blogspot.com/2014/12/kung-mahawi-man-ang-ulap-should-skies.html)
Post by: Noel_Vera on Dec 31, 2014 at 01:47 AM
Anyway, the article as follows: Bayaning Third World (Mike de Leon, 2000) (http://criticafterdark.blogspot.com/2011/06/bayaning-third-world-third-world-hero.html)
Post by: rse on Feb 04, 2015 at 04:16 PM
Post by: heisenbergman on Feb 04, 2015 at 05:12 PM
Willing ako bumili ng DVD, pero wala naman ako halos mahanap na nagbebenta...
For people like me with a 9-to-5 job and a young family who can rarely find time to watch even a hollywood blockbuster in a nearby cinema, meron bang paraan para mapanood yung mga magaganda talagang pinoy films?
Like these for example:
https://pinoyrebyu.wordpress.com/pinoy-rebyu-2014-poll
https://pinoyrebyu.wordpress.com/2014-movies-by-rating
I REALLY want to see these good filipino films.
Post by: jas on Feb 05, 2015 at 09:10 AM
Post by: heisenbergman on Feb 05, 2015 at 09:13 AM
So I really wish there were DVDs of these and the great local indie films of the past years. Para kasing after ipakita sandali sa iilang sinehan... wala, maglalaho nalang.
Post by: halvert on Feb 05, 2015 at 01:31 PM
So make time to watch coz you might not have another chance to see it.
Or pray that it gets shown on cable.
Post by: heisenbergman on Feb 05, 2015 at 02:16 PM
Post by: rse on Feb 05, 2015 at 03:26 PM
https://www.facebook.com/angnawawalaDVD
Post by: heisenbergman on Feb 05, 2015 at 04:38 PM
Post by: rusty on Feb 05, 2015 at 04:54 PM
Yung mga na-release na sa DVD, baka meron sa mga public trackers o torrent sites pag nahirarapan ka mag-purchase.
Post by: rse on Feb 05, 2015 at 08:15 PM
Post by: marj on Feb 07, 2015 at 09:48 AM
Post by: Klaus Weasley on Feb 07, 2015 at 11:29 PM
Post by: jas on Feb 08, 2015 at 07:35 PM
Post by: tonedeaf on Feb 09, 2015 at 09:07 PM
That Thing Called Tadhana - With a simple plot that never outstretches, characters that remain grounded in reality and a style that does not superficially exaggerate the romance, this excellent romantic-comedy avoids the standard cliches of the genre.+1 on the views of jas and Klaus. Well worth watching.
The 5.15pm screening in Rockwell was relatively full, so I hope more theaters show it. Glorietta stopped showing it today though.
Post by: v1n5anity on Feb 16, 2015 at 08:48 PM
Post by: tonedeaf on Feb 16, 2015 at 09:58 PM
That Thing Called Tadhana is now available for download sa favorite torrent site hehe. Yun nga lang mas maraming leechers kesa sa seeders kaya bagal ng DL.I think posts like this shouldn't be allowed in this forum.
Post by: jas on Feb 17, 2015 at 07:47 AM
Post by: Klaus Weasley on Feb 17, 2015 at 08:02 PM
^ That Thing Called Tadhana is still showing in theaters, so it's highly recommended to go the legit way. We should support quality Filipino films. Many people vocally complain at the lack of quality local movies & yet do not actually support a good production when it gets made & released.
Amen.
Perfumed Nightmare (Kidlat Tahimik) **** - This is an art house classic from Philippine cinema. Kidlat Tahimik is probably the most famous of the non-mainstream directors and this is his most famous film. It's about a naive young man from a rural village in the Philippines who dreams of going to America to become rich. After an American hires him to oversee his business in Paris, he comes to realize that certain types of "progress" and the American dream is actually kind of poisonous. The film blends documentary type footage with a fictitious narrative. It is quite avant-garde and beautifully done. In a way, this is kind of like a companion piece to Play Time. Their message is the same but this film is bit darker and a bit more pessimistic.
Post by: rse on Feb 18, 2015 at 04:54 AM
That Thing Called Tadhana.
BEWARE, MAY CONTAIN SPOILERS:
This is the most "hugot" movie that I've seen in a long while. Angelica owns this movie and JM provides a perfect foil to her character. A little nitpicking: I know that them losing/forgetting their luggage is very symbolic in their journey but the whole nonchalant way that it was handled simply annoyed me. The ending is satisfying but I would have preferred the ending 2 minutes before the real ending.
Post by: turismo1997 on Mar 05, 2015 at 05:46 AM
Mas kapakapanood pa yung mga starzan movies kaysa yung mga pelikula ni kabayong bakla,STD Queen at ni Vic.
Post by: comet on Mar 05, 2015 at 08:40 AM
Post by: keng001 on Mar 16, 2015 at 10:38 AM
5 indie films compete in ‘Sinag Maynila’ fest
LIMANG independent films ang maglalaban-laban sa darating na Sinag Maynila Film Festival na gaganapin mula sa Marso 18 hanggang 24 sa taong ito.
Ang Sinag Maynila ay ang kauna-unahang pestibal sa ating bansa para sa taong ito na magpapakita ng limang makabuhulang pelikula mula sa limang independent producers at directors.
Ito rin ang unang taon para sa festival organizers na kinabibilangan ng CEO at founder nito na si Wilson Tieng at ang world-renowned film director na si Brilliante Mendoza sa pakikipagtulungan sa pamunuan ng ShoeMart. Si Mendoza ang tatayong film director ng Sinag Maynila.
Sa ilang designated SM cinemas mapapanood ang limang de-kalidad na filmfest entries tulad ng “Balut Country,” “Bambanti,” “Imbisibol,” “Ninja Party” at “Swap” sa direksiyon naman nina Paul Sta. Ana, Zig Dulay, Lawrence Fajardo, Jim Libiran at Rempton Zuasola, respectively.
Katulad ng ibang independent film festival, ang layunin nito ay mabigyan pa ng mas malawak na oportunidad para mai-showcase ang kanilang trabaho, para mas lalo pang makilala at maging competitive.
Ayon nga kay direk Mendoza, “Mas maraming festivals, mas maraming pagkakataong makapaghatid ng marami pang kuwento, lalo na ang mga independent filmmakers.”
As early as now, pinupuri ni Tieng ang limang feature films.
Sa trailers na ipinakita sa amin noong press launch nito sa SM Aura sa Taguig, Metro Manila, kita namin ang iba’t ibang atake ng mga direktor lalo na sa mensahe na gusto nilang iparating sa mga manonood. May kanya-kanyang style pero, ang nangingibabaw ay ang layunin nilang makapaghandog ng isang de-kalidad na independent movie na, hopefully, ay tangkilikin din ng masang Pinoy sa box office.
Sa ngayon ay wala pa itong ratings mula sa MTRCB dahil ayon nga kay Tieng, wala pang ipapa-rate dahil wala pa naman silang pelikula (na tapos). Pero, kung anuman ang kanilang patakaran lalo na’t sa maseselang eksena, handa ang limang direktor na sundin kung ano ang mga ito.
Ilan sa mga artistang gaganap ng mahahalagang papel sa iba’t ibang entries ay sina Alessandra de Rossi, JM de Guzman, Rocco Nacino at marami pang iba.
Post by: Klaus Weasley on Mar 22, 2015 at 01:38 AM
Post by: Klaus Weasley on Apr 24, 2015 at 11:32 PM
Post by: Noel_Vera on May 02, 2015 at 03:01 AM
In the light of recent events (http://www.csmonitor.com/World/Global-News/2015/0428/Who-is-Mary-Jane-Veloso-and-why-is-she-on-death-row-video), this film (http://criticafterdark.blogspot.com/2015/05/bagong-bayani-unsung-heroine-tikoy.html)--sadly--seems as relevant as ever.
Post by: Noel_Vera on May 27, 2015 at 03:30 AM
His brief breakdown of Mario O'Hara's editing in Bagong Hari shows why the man is a master of both noir and the action film.
10 Underrated Filipino Action Films (http://pelikula.blogspot.com/2015/05/action.html)
Post by: Noel_Vera on Jun 13, 2015 at 12:53 AM
What has this to do with film? The interview helped with the script of Tikoy Aguiluz's Rizal sa Dapitan. But the article might be helpful anyway, if you're interested in things Jose Rizal.
Post by: Noel_Vera on Jun 20, 2015 at 01:29 AM
Post by: rse on Jul 12, 2015 at 10:56 PM
Post by: keepmenow on Aug 09, 2015 at 11:03 AM
Santa Claus Is Coming To Town (Elwood Perez) 4/5
Post by: Noel_Vera on Aug 12, 2015 at 03:11 AM
Screening times at Shang Cineplex (http://www.clickthecity.com/movies/theater/467/shangri-la-plaza-premiere-theatre), Premiere Theatre August 12-18:
Aug 12 - 6:30 pm
Aug 13 - 6:30 pm
Aug 14 - 6:30 pm
Aug 15 - 12:30 & 6:30 pm
Aug 16 - 12:30 & 6:30 pm
Aug 17 - 6:30 pm
Aug 18 - 6:30 pm
Presented by the Film development Council of the Philippines and Sine Olivia Pilipinas, in partnership with the Shang Cineplex
My thoughts on the film (http://criticafterdark.blogspot.com/2014/09/mula-sa-kung-ano-ang-noon-from-what-is.html)
Post by: Klaus Weasley on Sep 28, 2015 at 01:08 AM
Post by: rse on Sep 29, 2015 at 07:40 PM
Post by: skoivan on Oct 01, 2015 at 12:51 PM
Technically, the way it was shot and edited did not in any way feel sloppy as a lot of local films tend to be. Whoever directed the camera obviously had an eye for a good shot. Like the opening sequence with its amber hues, and play of light and shadow... some nice wide exterior shots, and even wide interior shots of the shoe factory were noteworthy... basta ang galing ng pagkakagamit ng camera.
Except maybe for the actress who played the wife of Romeo, all of the actors were spot on, anchored of course by the ever-dependable Ricky Davao (Romeo), and Mylene Dizon (Imelda) - who has intriguingly evolved to a powerhouse dramatic actress from when I first saw here as an AngTV teen. Props also to the supporting cast of Barbie Forteza who plays the young Imelda, the always alluring Bing Pimentel, and even comedic veteran Dennis Padilla. Ang prublema lang talaga for me was the actress who played Ricky Davao's wife. Parang walang emotions at all. Very flat and unconvincing. Among such a strong ensemble lalong na-magnify yung pagiging "weak link" niya.
And the story itself resonated emotionally. The sadness, anger, regret... all of these emotions truly came out and hit their mark (I was fvcking furious at Romeo's wife for what she did to her family). The structure of the film - interspersing the past and present - was very effective for the story that the director wanted to tell.
This here is not just great "for a local film" but really a great film.
8/10
Post by: skoivan on Oct 01, 2015 at 01:04 PM
Post by: krets pulpol on Oct 07, 2015 at 03:45 PM
Post by: jas on Oct 07, 2015 at 03:49 PM
The premiere screening of the biopic 'Felix Manalo' sets two new world records on Sunday at the Iglesia ni Cristo's Philippine Arena in Bulacan.
The premiere broke the record for the Largest Attendance For a Film Screening with 43,624 viewers, according to Viva Films.
Moreover, the biopic also broke the record for the largest indoor film screening at the Philippine Arena which is the world's largest indoor arena with a capacity of 55,000.
http://www.clickthecity.com/movies/a/27545/felix-manalo-movie-holds-two-new-world-records
Post by: skoivan on Oct 07, 2015 at 04:10 PM
Post by: Klaus Weasley on Oct 25, 2015 at 07:09 PM
Post by: Klaus Weasley on Nov 10, 2015 at 12:29 AM
Lorna (Sigrid Andrea Bernardo) ***1/2 - A 60 year old single woman is looking for love in all the wrong places. This is technically a romantic comedy but it is such antithesis of mainstream Filipino romantic comedies. For one thing the lead is not a cute young couple and the film is surprisingly quite sex-positive (something that's relatively rare in mainstream Filipino rom-coms, since I find Filipinos LOVE romance but generally don't like sex) so it's like breath of fresh air. It features a great central performance by Shamaine Buencamino as the love-starved middle-aged woman. Lav Diaz shows up as one of her beaus and if you wanna see the internationally acclaimed auteur show his butt and smoke a joint, this is the movie to see. It's just a tad too long though but otherwise highly recommended.
Post by: Klaus Weasley on Nov 11, 2015 at 10:43 PM
Manang Biring (Carl Joseph Papa) ***1/2 - This is actually a rotoscoped animated film (a rarity in Filipino cinema) about a terminally ill elderly woman finds out that her estranged daughter is seeing her for Christmas. She goes through great lengths to be able to survive just long enough to see her. Now, this may sound like a three-hankie, and yes, it does jerk your tears but it earns them. This is actually quite funny and edgy and has something a bit more in common with Breaking Bad than your average cancer drama. The rotoscoped animation actually gives this film a bit more heft and depth to it with images that somehow manages to stay with you. It's also oddly life-affirming. Definitely one of the best Filipino films of the year so far.
Baka Siguro Yata (Joel Ferrer) *** - After being dumped by his girlfriend of six years for another woman, a guy hooks up with an old classmate and gets her pregnant. His divorced parents re-kindle their romance despite being attached to other people. Two young teenagers contemplate losing their virginity. Yes, they're all plots we know from other comedies but this time they're done in a uniquely Filipino concept. The results are often funny but what makes this stand out is that despite the fact that it's technically a sex comedy, there's zero attempt to gross out or shock people with graphic content but it's still often charming and funny. It's no comedic masterpiece but it's still a refreshing little antidote to the Pinoy cutie love team rom-coms.
Post by: Klaus Weasley on Nov 14, 2015 at 12:02 AM
Post by: Klaus Weasley on Nov 14, 2015 at 11:32 PM
Post by: Klaus Weasley on Nov 15, 2015 at 10:38 PM
Post by: Noel_Vera on Nov 21, 2015 at 12:26 AM
Post by: kikofabs on Feb 16, 2016 at 07:04 PM
Post by: jas on Feb 23, 2016 at 10:02 AM
Lav Diaz’s recent opus, the eight-hour “Hele sa Hiwagang Hapis (Lullaby to Sorrowful Mystery)” wins the Alfred Bauer Prize for work of particular innovation in the 66th Berlin International Film Festival, the Agence France-Presse reported on Sunday morning (Manila time).
http://entertainment.inquirer.net/190576/lav-diazs-8-hour-film-hele-sa-hiwagang-hapis-wins-in-berline
Post by: Klaus Weasley on Mar 07, 2016 at 01:33 AM
Post by: rse on Mar 28, 2016 at 04:02 PM
Post by: Noel_Vera on Apr 11, 2016 at 05:33 AM
Post by: Noel_Vera on Apr 12, 2016 at 07:12 AM
Post by: rse on Apr 23, 2016 at 04:45 AM
Post by: Noel_Vera on Apr 23, 2016 at 06:20 PM
Post by: Noel_Vera on May 13, 2016 at 12:38 AM
Post by: jas on May 23, 2016 at 07:51 AM
Filipino actress Jaclyn Jose won best actress at the Cannes film festival Sunday, May 22 for her mesmerizing performance as a mother forced to sell drugs to survive before falling prey to corrupt police.
http://www.rappler.com/entertainment/news/133923-jaclyn-jose-wins-best-actress-cannes-film-festival-2016-ma-rosa
Post by: rse on May 25, 2016 at 03:47 AM
Post by: halvert on May 25, 2016 at 08:23 PM
Post by: oznola on May 25, 2016 at 08:28 PM
Post by: rse on May 27, 2016 at 04:11 AM
^hahaha! love the hashgtagsThanks.
Post by: Klaus Weasley on Jul 06, 2016 at 11:12 PM
Cast: Jaclyn Jose, Julio Diaz, Andi Eigenmann, Felix Roco, Jomari Angeles, Baron Geisler, Mark Anthony Fernandez, Mon Confiado, Mercedes Cabral, Allan Paule, Maria Isabel Lopez.
Dir: Brillante Mendoza.
A woman from the poor district of Manila who owns a small convenience store make ends meet by selling drugs. She and her husband get busted by some corrupt cops who demand a 200,000 peso "bail". Their children each try to raise the money. This film won veteran Filipino actress Jaclyn Jose the Best Actress prize in Cannes. She's actually known here for her more restrained, subtle type of acting in an industry which tends to favor the big, emotional scenery chewing type. That's why she's such a good fit for Brillante Mendoza's films. She imbues a very lived-in, realistic quality to her performance. The film itself is kind of flawed. It's Brillante Mendoza going back to familiar territory and he did elements of this better in his previous films. It's not quite a masterpiece, I'd probably consider it mid-tier Mendoza at best, but it's still a very good film.
Post by: Noel_Vera on Jul 23, 2016 at 09:47 PM
My thoughts on one of Lino Brocka's rare musicals (http://criticafterdark.blogspot.com/2016/07/dung-aw-lino-brocka-1975.html)
Post by: Noel_Vera on Aug 04, 2016 at 01:17 AM
Available on Netflix and Amazon
Post by: jas on Aug 05, 2016 at 07:57 AM
http://screenanarchy.com/2016/08/check-out-brandon-vera-and-anne-curtis-in-training-for-erik-mattis-filipino-action-film-buy-bust.html
Post by: dibidi on Aug 05, 2016 at 08:18 AM
Post by: jas on Aug 05, 2016 at 08:40 AM
This might be a good "comeback" for Filipino action movies. Erik Matti has shown that he can do quality genre films. I'm guessing this will be somewhat similar in style to Indonesia's "The Raid" martial-arts movies....
Post by: dibidi on Aug 05, 2016 at 03:13 PM
Post by: Noel_Vera on Aug 05, 2016 at 11:49 PM
Available online--fuzzy copy and unsubtitled alas
Post by: rse on Aug 14, 2016 at 10:08 PM
Aside from its technical polish, hindi naman pala kagandahan ang Honor Thy Father. It’s a bit heavy-handed for my taste and some bits of it are utterly ridiculous. And I'm still not convinced of John Lloyd's acting prowess.
Post by: Noel_Vera on Aug 23, 2016 at 09:32 PM
RIP Lilia
Post by: Klaus Weasley on Aug 30, 2016 at 08:36 AM
Post by: Klaus Weasley on Sep 11, 2016 at 02:38 AM
Post by: jas on Sep 15, 2016 at 04:39 PM
Brillante Ma. Mendoza’s “Ma’ Rosa” has been chosen as the country’s entry in the best foreign language film category of the 89th Academy Awards, which will be held in Los Angeles on Feb. 26, 2017.
http://entertainment.inquirer.net/201533/ma-rosa-is-ph-entry-in-oscar-best-foreign-language-category
Post by: Noel_Vera on Oct 07, 2016 at 03:29 PM
My thoughts on Lav Diaz's Venice Film Festival Golden Lion winner (http://criticafterdark.blogspot.com/2016/10/the-woman-who-left-ang-babaeng-humayo.html)
Post by: Klaus Weasley on Oct 09, 2016 at 09:00 AM
Post by: Klaus Weasley on Oct 16, 2016 at 01:26 AM
Post by: Noel_Vera on Oct 20, 2016 at 09:47 PM
Post by: JeromeA on Oct 20, 2016 at 11:15 PM
camp sawi - panalong panalo bella padilla, arci munoz and yassi pressman... tsk
Post by: Klaus Weasley on Oct 23, 2016 at 01:04 AM
Post by: jas on Oct 26, 2016 at 07:51 AM
TRAILER:
https://www.youtube.com/watch?v=q5NUjN2zm7w
MUSIC VIDEO:
https://www.youtube.com/watch?v=U870vI0MZj0
Post by: jas on Oct 29, 2016 at 06:58 AM
Post by: Klaus Weasley on Oct 30, 2016 at 01:48 AM
Post by: Noel_Vera on Nov 01, 2016 at 01:39 AM
Post by: rse on Nov 01, 2016 at 10:53 PM
Post by: rse on Nov 05, 2016 at 01:03 AM
Two Films by Lino Brocka: Manila in the Claws of Light and Insiang
Two films from the great Philippines director Lino Brocka
£29.99
This title will be released on 20th March 2017
http://shop.bfi.org.uk/new-releases/new-dvds/http-shop-bfi-org-uk-dvd-blu-ray-lino-brocka-two-films.html#.WBy-CHeZORs
Post by: Verbl Kint on Nov 05, 2016 at 09:52 AM
Apocalypse Child (Mario Cornejo) **** - A young man named Ford works as a surf instructor in his provincial town of Baler where he is believed to be the love child of director Francis Ford Coppola who impregnated his mom when she was a teenage while shooting Apocalypse Now. With his Filipino-American girlfriend and his childhood best friend, he confronts his past, present and future. I finally caught this acclaimed film after missing it in the film festivals last year. It is fantastic. Though the film tackles some serious themes, it is heavily peppered by humor and is shot beautifully. The film's narrative feels loose and breezy but as the film goes on and certain revelations are revealed, the film does not resort to cheap emotions and still keeps things subtle and humorous. It's held together by natural performances by the cast and great direction. It feels like if Baumbach, or Linklater or Truffaut made a surfing film.Finally saw this in Gateway last night. The film didn't feel indie at all and the acting was very natural. The plot didn't seem organic, though, but thank goodness the Deus Ex Machina I was expecting didn't happen. Probably the best pinoy film I've seen this year.
I hope I can grab this on blu ray in the future so I can watch it without the distracting subtitles.
Sent using Tapatalk
Post by: Noel_Vera on Nov 17, 2016 at 11:02 PM
Post by: Noel_Vera on Dec 02, 2016 at 01:58 AM
Rodrigo Duterte on former president Ferdinand Marcos (italics mine): "President Marcos was a president for so long and he was a soldier. So that’s about it. Whether or not he performed worse or better, there is no study, there is no movie about it. It’s just the challenges and allegations of the other side which [are] not enough"
Well then!
In ascending order, my incomplete unobjective totally off-the-cuff list of titles that do in fact deal with the Martial Law era (http://criticafterdark.blogspot.com/2016/12/martial-law-movies.html)
Post by: jas on Dec 02, 2016 at 10:05 AM
Post by: JeromeA on Dec 07, 2016 at 11:24 AM
Post by: jas on Dec 07, 2016 at 11:31 AM
Metro Manila - is this considered as filipino films? dba american ang gumawa nito? one of the best tong napanood ko na filipino.
Metro Manila is a British production. It was even chosen as the British entry for Foreign Language Film at the Oscars, but eventually was not nominated.
Post by: jas on Dec 26, 2016 at 08:01 AM
http://screenanarchy.com/2016/12/birdshot-watch-the-gripping-trailer-for-mikhail-reds-award-winning-thriller.html
Post by: rse on Dec 28, 2016 at 04:26 PM
Post by: JeromeA on Dec 28, 2016 at 07:38 PM
Post by: Klaus Weasley on Jan 23, 2017 at 12:34 AM
Post by: rse on Feb 15, 2017 at 07:24 PM
http://www.dvdbeaver.com/film6/blu-ray_reviews_75/lino_brocka_2_films_blu-ray.htm
Post by: Klaus Weasley on Feb 16, 2017 at 09:30 AM
Post by: jas on Feb 16, 2017 at 09:48 AM
Insiang is being released by the Criterion Collection as part of the second volume of Martin Scorsese's World Cinema Project box-set.
Link as posted in the "Pinoy DVD" section.....
Insiang is being released by the Criterion Collection as one of the six films in Martin Scorcese's World Cinema Project No. 2.
https://www.criterion.com/boxsets/1258-martin-scorsese-s-world-cinema-project-no-2
It will not be released individually pala.....
Post by: Noel_Vera on Apr 29, 2017 at 12:23 AM
Thoughts on one of the best erotic films (http://criticafterdark.blogspot.com/2017/04/takaw-tukso-william-pascual.html#) ever made
Post by: Klaus Weasley on Apr 30, 2017 at 08:21 PM
Post by: Klaus Weasley on May 03, 2017 at 09:26 AM
Post by: Noel_Vera on May 07, 2017 at 03:36 PM
On this May the Fourth, my thoughts (http://criticafterdark.blogspot.com/2017/05/mutya-ng-pasig-pearl-of-pasig-richard.html)on a great fantasy
Post by: Noel_Vera on May 25, 2017 at 11:18 PM
Thoughts on MNL 143 (http://criticafterdark.blogspot.com/2017/05/mnl-143-emerson-reyes-2012.html) (Emerson Reyes, 2012)
Available @ Cinetropa (https://www.cinetropa.com/)
Post by: Verbl Kint on May 30, 2017 at 03:47 AM
https://www.facebook.com/filmsleepless/
Post by: syoti on May 30, 2017 at 09:36 PM
I heard Sleepless (Prime Cruz, 2015) had another theatrical run recently. Hope I can still catch it this weekend.
https://www.facebook.com/filmsleepless/
Til tom nlng ata showing in selected sm cinemas via cinelokal. Friday nagshow last week e. Planning to watch it dn sana.. Hopefully tom..
Post by: Noel_Vera on Jun 04, 2017 at 07:40 PM
Eighteen Filipino films from thirteen Filipinos (https://www.moma.org/calendar/film/3843), now showing at the MoMA in New York.
So what are you waiting for?
Post by: Noel_Vera on Jun 05, 2017 at 06:47 PM
My thoughts (http://criticafterdark.blogspot.com/2017/06/a-new-golden-age-contemporary.html) on the 'Third Golden Age' of Philippine Cinema -- eighteen examples of which are screening at New York City's MoMA
Post by: rse on Jun 16, 2017 at 03:09 PM
I think that last sequence of this movie will be remembered in Philippine cinema history the same way as Truffaut's 400 Blows. Jacklyn Jose gave a natural and impactful performance. The rest of the cast were also very strong and gave the needed “as-is-where-is” performances. The movie itself is very loose and the story seems a bit thin, which is a characteristic of Brillante's movies. I think it has less dramatic impact than for example his “Tirador”, but the magic that was captured in the few frames of this movie well made up for this.
Post by: rse on Jun 18, 2017 at 04:17 AM
I like this better than M’ Rosa. It is a quiet, well observed and respectful movie. It could have easily been a propaganda but it plays more like a documentary of the a community of people who are trying to move on, or just simply live their lives and persevere, after the aftermath of a major tragedy amidst the continuing hardships, recurring threats and bureaucracy.
Post by: Klaus Weasley on Jul 16, 2017 at 02:08 AM
Post by: Klaus Weasley on Jul 16, 2017 at 10:51 PM
Post by: jas on Jul 23, 2017 at 08:09 AM
Post by: jas on Jul 31, 2017 at 08:41 AM
August might just be the month for the Filipino film industry, because just a few days after Cinemalaya 13 culminates, the first ever Pista ng Pelikulang Pilipino begins!
From August 16 to 22, all the cinemas nationwide (more than 700 screens!) will be showing 12 Filipino films of various genres and varieties to give filmmakers a platform where they connect to a much wider audience. The film festival is also held in celebration of the Buwan ng Wika.
https://www.clickthecity.com/movies/a/33013/check-out-the-12-films-you-should-see-during-the-pista-ng-pelikulang-pilipino
Post by: Noel_Vera on Aug 08, 2017 at 09:00 AM
Thoughts (https://criticafterdark.blogspot.com/2017/08/kung-mangarap-kat-magising-moments-in.html) on the restored version of Mike De Leon's only romantic comedy
(Shown as part of the CineLokal initiative of the Film Development Council of the Philippines and SM Cinema. It is being screened daily until Aug. 10, with shows at 1 p.m., 3:30 p.m., 6 p.m., and 8:30 p.m. at SM Cinemas at SM Megamall, SM North EDSA, SM Fairview, SM Iloilo, SM Southmall, SM Cebu, SM Bacoor, and SM Mall of Asia.)
Post by: syoti on Aug 10, 2017 at 09:37 PM
(https://1.bp.blogspot.com/-UmNRjgOTcZM/WYSoJmMlO6I/AAAAAAAAKEs/coxhdJTrwJQG3VVE7Z-OmTWsLGICd7e0QCLcBGAs/s640/kung%2Bmangarap%2Bka%2527t%2Bmagising.jpg)
Thoughts (https://criticafterdark.blogspot.com/2017/08/kung-mangarap-kat-magising-moments-in.html) on the restored version of Mike De Leon's only romantic comedy
(Shown as part of the CineLokal initiative of the Film Development Council of the Philippines and SM Cinema. It is being screened daily until Aug. 10, with shows at 1 p.m., 3:30 p.m., 6 p.m., and 8:30 p.m. at SM Cinemas at SM Megamall, SM North EDSA, SM Fairview, SM Iloilo, SM Southmall, SM Cebu, SM Bacoor, and SM Mall of Asia.)
Actually not to spoil everybody. If you fail to catch this since i think it's its last day today. You can buy the orig dvd from abs cbn at their booth in ccp during the cinemalaya run... Bought mine already..have to watch it yet. Also on sale, Karnal, t bird at ako double w ikaw ay akin. This one is bundled along w Kakaba kaba and Hindi Nahahati ang Langit
Post by: Klaus Weasley on Aug 13, 2017 at 08:58 AM
Kiko Boksingero (Kiko, the Boxer) (Thop Nazareno) *** - After the death of his mother, an 11 year old boy being raised by his loving nanny, tries to reconnect with his estranged professional boxer father by taking up boxing. This is a Cinemalaya film. Going into this, I thought it was going to be a sports movie. But it’s not. Not at all. It’s more of a story of a son trying to reach out to his father in order to find some semblance of a family. It’s not a knockout but it’s a sweet tale with its heart in the right place but thankfully keeps things subtle and honest and doesn’t go for the cheap tears which films of this ilk tend to do. A solid drama.
Ang Pamilyang Hindi Lumuluha (The Family That Doesn’t Weep) (Mes De Guzman) **1/2 - There is an urban legend about a strange family whose members do not weep. If you let them stay at your house, whatever or whoever is missing in your life will come back. This local legend is used by a lonely woman with the help of his housemaid to bring back her estranged children. This is considered an acting comeback and first indie film of Sharon Cuneta, whom we haven’t seen in movies for a while. And she’s really good in this comedy-drama. She’s really funny and knocks out the drama when needed. She’s matched by Nino Muhlach and Moi Vien, who’s hilarious as her exasperated, sexually frustrated maid. Unfortunately, the film suffers from a really muddled script and even worse, obviously rushed editing. Some scenes cut in strange places. Some transitions are jarring. One scene ran for too damn long. There is a gem of an idea here and certainly there are moments that work but the film really suffers from bad execution.
Post by: Klaus Weasley on Aug 14, 2017 at 02:09 AM
Post by: jas on Aug 14, 2017 at 11:11 AM
Full-length Feature Film:
Best Full-length Feature Film: Respeto
Best Director: Joseph Israel Laban (Baconaua)
Best Actor: Noel Comia, Jr. (Kiko Boksingero)
Best Actress: Angeli Bayani (Bagahe)
Best Supporting Actor: Dido de la Paz (Respeto)
Best Supporting Actress: Yayo Aguila (Kiko Boksingero)
Best Sound: Corinne de San Jose (Respeto)
Best Musical Score: Kiko Boksingero
Best Editing: Lawrence Ang (Respeto)
Best Production Design: Marxie Maolen Fadul (Nabubulok)
Best Cinematography: (tie) Ike Avellana (Respeto) and TM Malones (Baconaua)
Best Screenplay: Zig Dulay (Bagahe)
Special Jury Prize: Baconaua
NETPAC Jury Prize: Respeto
Audience Choice: Respeto
Short Film Feature:
Best Short Film: Hilom
Best Screenplay: Duwi Monteagudo (Bawod)
Best Director: E. del Mundo (Manong ng Pa-aling)
Audience Choice: Nakauwi Na
Special Jury Prize: Fatima Marie Torres and the Invasion of Space Shuttle Pinas 25
NETPAC Jury Prize: Aliens Ata
Post by: Klaus Weasley on Aug 20, 2017 at 02:43 AM
Patay na Si Hesus (Jesus Is Dead) (Victor Villanueva) *** - When a middle-aged woman finds out her long estranged husband (and father of her children and the Jesus of the title)) has passed away, she drags her three young adult children who barely knew him on a road trip to attend his wake and funeral. In many ways, this is a typical road comedy film with all the familiar beats but the performances of the ensemble cast especially that of Jaclyn Jose (who's also gifted in comedy, I must say) and Chai Fonacier who nearly steals the film from Jose playing her lesbian daughter (or trans son, I'm not sure because Filipinos are weird like that) make it special. It is quite funny and contains a sequence that's both heartbreaking and hilarious (you'll know it when you see it).
Salvage (Sherad Anthony Sanchez) ***1/2 - While covering a lurid story about "aswangs" killing people in remote villages in the jungle, a news crew run into some hostile locals. Found footage horror films (and found footage films in general) have probably run their course. But after seeing this, I was really impressed. This film manages to make a genuinely thrilling and at times even genuinely scary found footage horror film where the found footage conceit actually enhances the scares rather than it be just a gimmick. There is always an atmosphere of uneasiness once all hell breaks loose and you're never quite sure what will happen next. Definitely a film to see.
Post by: jas on Aug 20, 2017 at 08:05 AM
Post by: Noel_Vera on Aug 20, 2017 at 08:51 AM
Two films: Ralston Jover's Hamog (Haze (https://criticafterdark.blogspot.com/2017/08/hamog-haze-ralston-jover-2015.html)) and Sherad Anthony Sanchez's Salvage (https://criticafterdark.blogspot.com/2017/08/salvage-sherad-anthony-sanchez-2015.html)
Post by: Klaus Weasley on Aug 21, 2017 at 12:37 AM
Post by: jas on Aug 22, 2017 at 05:56 AM
Post by: Noel_Vera on Aug 30, 2017 at 02:15 AM
Thoughts (https://criticafterdark.blogspot.com/2017/08/birdshot-mikhail-red-2016.html) on Mikhail Red's second feature
Post by: Klaus Weasley on Sep 03, 2017 at 09:45 PM
Post by: Noel_Vera on Sep 07, 2017 at 08:43 PM
Is Brillante Mendoza a follower of Duterte? Yes but his film seems more complicated than that. (https://criticafterdark.blogspot.com/2017/09/ma-rosa-brilliante-mendoza-2016.html)
Post by: jas on Sep 14, 2017 at 03:22 PM
RESPETO opens on September 20, 2017. It premiered in Cinemalaya and bagged all the major awards including Best Picture, NETPAC Prize and Audience Choice.
TRAILER:
https://www.youtube.com/watch?v=zQJOig_ghkI
Post by: jas on Sep 18, 2017 at 08:09 AM
Set in the deadly world of the drug war raging through contemporary Manila, the film follows Toto, a teenage orphan, as he is recruited into a notorious death squad. The gang's matriarch, Irma, becomes a surrogate mother figure to the boy, but when their next target is revealed to be a familiar face, loyalties will be put to the test.
TEASER TRAILER:
https://www.youtube.com/watch?v=HeAZfXa2b6o
Post by: Noel_Vera on Sep 22, 2017 at 02:35 AM
Thoughts on Respeto (https://criticafterdark.blogspot.com/2017/09/respeto-treb-monteras-ii-2017.html)
Post by: jas on Sep 23, 2017 at 08:24 AM
Post by: jas on Oct 12, 2017 at 07:09 AM
http://qcinema.ph
QCinema FB Page
https://www.facebook.com/QuezonCityFilmFest/
All the Films You Shouldn't Miss in the Upcoming QCinema International Film Festival
https://www.clickthecity.com/movies/a/33293/dont-miss-these-films-in-the-upcoming-qcinema-international-film-festival
Post by: Noel_Vera on Oct 14, 2017 at 01:48 PM
QCinema International Film Festival Website
http://qcinema.ph
QCinema FB Page
Good stuff. Thanks for the heads up!
https://www.facebook.com/QuezonCityFilmFest/
All the Films You Shouldn't Miss in the Upcoming QCinema International Film Festival
https://www.clickthecity.com/movies/a/33293/dont-miss-these-films-in-the-upcoming-qcinema-international-film-festival
Post by: jas on Oct 21, 2017 at 09:00 PM
Post by: Klaus Weasley on Oct 22, 2017 at 12:43 AM
Post by: Klaus Weasley on Oct 23, 2017 at 12:22 AM
Post by: Klaus Weasley on Oct 28, 2017 at 11:19 PM
Post by: syoti on Oct 29, 2017 at 11:52 AM
Balangiga: Howling Wilderness (Khavn de la Cruz) ***1/2 - Set during the 1901 American occupation of Samar during the infamous Balangiga massacre in which American troops executed hundreds of civilians, including children. This focuses on a little boy and his grandfather who's trying to get to safety going on a long, arduous journey. Boy, this film really puts its viewers through ringer along with its characters (which includes two small children who bore the brunt of the abuse, I might add). In many ways, this is Khavn's most conventional film in the narrative sense and quite possibly his masterpiece. It's an extraordinary film filled with images that will forever etch into your psyche. It is also pretty bleak. It's horrifying to know that this film isn't a complete fiction and that what's depicted in the film could've conceivably happen. Yes, this is a "White Men are Awful" and "War is Horrible" movie but it's completely worth your time.
Balangiga: Howling Wilderness (Khavn de la Cruz) ***1/2 - Set during the 1901 American occupation of Samar during the infamous Balangiga massacre in which American troops executed hundreds of civilians, including children. This focuses on a little boy and his grandfather who's trying to get to safety going on a long, arduous journey. Boy, this film really puts its viewers through ringer along with its characters (which includes two small children who bore the brunt of the abuse, I might add). In many ways, this is Khavn's most conventional film in the narrative sense and quite possibly his masterpiece. It's an extraordinary film filled with images that will forever etch into your psyche. It is also pretty bleak. It's horrifying to know that this film isn't a complete fiction and that what's depicted in the film could've conceivably happen. Yes, this is a "White Men are Awful" and "War is Horrible" movie but it's completely worth your time.
Liked the movie best among the other circle films too and probably deserved the best film award, But it's not for everybody. One afternoon screening at gateway, there was one senior viewer who was raving about it after the movie about how obscene it was and deregatory to the people of Samar and even complained to the qcinema organizing committee about it...
Post by: jas on Oct 29, 2017 at 02:45 PM
https://www.rappler.com/entertainment/news/186515-qcinema-international-film-festival-2017-winners
Post by: coastal on Oct 30, 2017 at 10:17 AM
https://www.facebook.com/fashionpulis/videos/1698780286860892/ (https://www.facebook.com/fashionpulis/videos/1698780286860892/)
Post by: jas on Oct 31, 2017 at 04:53 PM
ANG LARAWAN, THE MUSICAL (2017)
Directed by: Loy Arcenas
Cast: Rachel Alejandro, Joanna Ampil, Cara Manglapus, Sandino Martin, and Paulo Avelino
Ang Larawan is the film adaptation based on National Artist for Literature Nick Joaquin’s three-act English play, A Portrait of the Artist as Filipino.
Set in pre-World War II in Intramuros (Old Manila), sisters Candida and Paula Marasigan, daughters of high profile painter, Don Marasigan, deal with financial hardship after their father’s claim of an artistic drought.
It features original music by Ryan Cayabyab and the Philharmonic Orchestra, as well as a script penned by National Artist for Theater and Literature Rolando Tinio.
FULL TRAILER:
https://youtu.be/a7T2DAUUvn8
Post by: Noel_Vera on Nov 01, 2017 at 01:32 PM
Post by: halvert on Nov 01, 2017 at 05:47 PM
Post by: Noel_Vera on Nov 02, 2017 at 12:43 PM
Post by: jas on Nov 08, 2017 at 08:08 AM
https://www.clickthecity.com/movies/a/33621/your-ultimate-guide-to-cinema-one-originals-2017
Post by: Klaus Weasley on Nov 14, 2017 at 11:05 PM
Si Chedeng at Si Apple (Fatrick Tabada/Rae Red) *** - Chedeng is a 66 year old newly-widowed woman who just came out as a lesbian. Apple just killed and decapitated her abusive lover. They journey to Cebu to find the former's old girlfriend bringing along the latter's lover's decapitated head inside a Louis Vuitton bag. It's a kooky black comedy-road movie that's a wonderful vehicle for both Gloria Diaz and Elizabeth Oropesa, two veteran Filipino actresses who seldom get leading roles like this anymore. They're both wonderful and they sell the material well. The film kind of strains believability at some points but the film overall sells its charm by virtue of its stars. Overall, a solid film.
Post by: Klaus Weasley on Nov 21, 2017 at 11:53 PM
Haunted: A Last Visit to Red House (Phyllis Grande) *** - This documentary starts off as chronicling the history and stories of ghost sightings on the so-called Red House in Bulacan. Then it uses that as a jumping off point to interview some of the last surviving "Comfort Women", women who were raped and sexually abused by Japanese soldiers during World War II. From legendary rumored horrors to real-life horrors, the transition is kind of tenuous at best. The stories these women tell are compelling, no doubt and people must listen to them but I feel that some of this film is padded out with too many filler in an effort to bring it to feature length.
Bundok Banahaw: Sacred and Profane (Dempster Samarista) *** - This is a documentary which chronicles the pilgrims of all different religious affiliations going toMt. Banahaw, which is said to be a sacred, holy mountain where miracles happen. We see the different practices and beliefs of the many, many people who believe this place to be somehow enchanted and sacred. I've always heard a lot of stories about Mt. Banahaw throughout the years and this is a pretty darn good look as to what really goes on in that mountain. It is a fascinating exploration on the unique way a lot of Filipinos practice religion. I wish it could have gone a bit more deeper though.
Changing Partners (Dan Villegas) ***1/2 - This is based on a stage musical. It is about a couple named Alex and Cris, one older, the other younger, played alternately by four actors, two male, two female. They alternately explore what it would be like switching genders in this type of older/younger relationship. When I first heard of the premise, I thought, "No way could this work" but having seen it, holy crap! This film is pretty darn great. The exploration of the similarities and differences of the relationship when it comes to gender and stuff is fascinating yet it doesn't detract from the emotional story that it's telling...even in song form. Definitely a must-see and one of my favorite Filipino films of the year. Great performances by the four actors too.
Post by: Klaus Weasley on Nov 23, 2017 at 11:27 PM
Paki (Giancarlo Abrahan) ***1/2 - One of the things I love about the Filipino indie movie scene is the fact that it gives longtime character actors and actresses a chance to shine in leading roles which they very seldom get. This time, it's Dexter Doria who is widely known for playing villainesses and strict moms. She gets to shine as a matriarch of a lovably dysfunctional family who finds out the longtime mistress of her womanizing husband had died and he drags her to the city to attend the funeral. They reunite with their adult children and grandchildren. She is supported by a fine ensemble cast of actors in a story that's alternately hilarious and heartbreakingly sad. Director Giancarlo Abrahan is proving himself to be one of the best young Filipino filmmakers around. Extra points for treating LGBT characters like normal people.
Post by: Klaus Weasley on Nov 25, 2017 at 12:47 AM
Nervous Translation (Shireen Seno) *** - Set sometime during the 1980's, an introverted little girl decides to save up to buy a Japanese pen while missing her father who is abroad. This is a unique little film. It's a Filipino film but the pacing and the tone feels quite European (I mean, it spent quite a bit of its running time on a sequence where the little girl cooks food in a miniature toy stove) yet still distinctly Filipino. There's something about the way the director captures childhood innocence and what a Filipino childhood is like that's supremely authentic (I suspect it might be semi-autobiographical, perhaps?). It didn't quite blow me away but I think the filmmaker definitely has potential. The lead child actress is also excellent.
Post by: Klaus Weasley on Nov 27, 2017 at 12:53 AM
Post by: Noel_Vera on Nov 30, 2017 at 02:30 PM
Post by: Verbl Kint on Dec 01, 2017 at 01:41 AM
Moral (Marilou Diaz-Abaya) ***1/2 - This film focuses on four young women who happen to be best friends in the same college class: One is a promiscuous drug addict, another one is an aspiring singer with more ambition than talent, the other is a single mom whose ex-husband left her for another man and the last one is a newlywed whose husband wants to keep her barefoot and pregnant. With a screenplay by my mentor, Ricky Lee, this film is a super progressive and feminist look into the lives of young women and though it was made and set in the 1980's, it doesn't feel old at all. These stories still remain largely relevant today. Even though it brings up and talks about a lot of issues, it doesn't feel at all preachy and even manages to sprinkle humor despite some of the dead serious issues brought up[. The performances of the entire cast are fantastic as well. It's one of the classics of Filipino cinema.
Is it available online?
Post by: Klaus Weasley on Dec 01, 2017 at 09:47 AM
Post by: jas on Dec 01, 2017 at 10:12 AM
I saw the restored version screened during Cinema One Originals Festival. I think you can purchase the DVD's in ABS-CBN stores.
I may be wrong, but I don't think the restored Moral is available already on DVD. It's not yet listed on ABS-CBN's Online Store.
Post by: puffalan84 on Dec 01, 2017 at 11:24 AM
Post by: syoti on Dec 02, 2017 at 09:17 AM
I may be wrong, but I don't think the restored Moral is available already on DVD. It's not yet listed on ABS-CBN's Online Store.
Yes wala pa Moral sa dvd. But sure lalabas un ksi abs ang nagrestore
Post by: traveler69 on Dec 02, 2017 at 10:20 AM
Just watched working girls the other night in PBO.. Took me awhile to realized that it was Maria Isabel Lopez the one in recent Asian summit fiasco. she was hot there :)
You're right about Maria Isabel Lopez. She was hot back in the day. I don't know how many of the younger members of PDVD recall that she was crowned Binibining Pilipinas Universe in 1982. She has always been controversial, in and out of the movie industry.
The Working Girls movie, by the way, should be restored faithfully, the way our National Artist Ishmael Bernal intended the movie to be. I had seen this movie on the big screen in 1984, but it was mercilessly edited and butchered when its home video versions came out on betamax, VHS and DVD. I won't be surprised if PBO's broadcast met the same fate. They should put out the original uncut version.
Hey, Viva Films. Are you listening?
Post by: jas on Dec 03, 2017 at 03:05 PM
Check Out Brandon Vera And Anne Curtis In Training For Erik Matti's Filipino Action Film BUY BUST:
http://screenanarchy.com/2016/08/check-out-brandon-vera-and-anne-curtis-in-training-for-erik-mattis-filipino-action-film-buy-bust.html
Update....
BUY BUST
Directed by Erik Matti
Written by Michiko Yamamoto and Erik Matti
Starring Anne Curtis, Brandon Vera, Joross Gamboa, Mara Lopez, and Victor Neri
PRODUCTION TRAILER:
https://youtu.be/RlRCI7EJ_Us
Post by: jas on Jan 10, 2018 at 07:14 AM
https://youtu.be/33XZIrH2Hk8
Post by: Noel_Vera on Jan 19, 2018 at 01:43 AM
My vote for the best films of 2017 (https://criticafterdark.blogspot.com/2018/01/best-of-2017.html) (plus a handful of interesting titles)
Post by: Klaus Weasley on Jan 22, 2018 at 01:19 AM
Post by: jas on Jan 24, 2018 at 06:47 AM
https://youtu.be/oTUjHh3PeVc
Post by: Klaus Weasley on Jan 29, 2018 at 01:04 AM
Post by: JeromeA on Jan 30, 2018 at 06:08 AM
BUY BUST - First Full Trailer:
https://youtu.be/33XZIrH2Hk8
nag iimprove na ang cinematography ng pinoy films. parang raid redemption
nice post.
Post by: Noel_Vera on Feb 16, 2018 at 01:07 AM
Belated tribute to Maryo J. de los Reyes: thoughts (https://criticafterdark.blogspot.com/2018/02/magnifico-2003-maryo-j-de-los-reyes.html) on one of his most highly regarded films
Post by: jas on Feb 21, 2018 at 07:31 AM
The highly-anticipated film “Buy Bust” by critically-acclaimed director Erik Matti has been acquired by Well Go USA for North American Cinema release.
Well Go USA announced the acquisition of North American rights to BUYBUST, the latest from master Filipino filmmaker Erik Matti (On The Job, Honor Thy Father). Well Go USA will release the film to North American theaters later this year, followed by a digital and home video release.
https://pelikulamania.com/2018/02/19/erik-mattis-buy-bust-to-screen-at-north-american-cinemas-thru-well-go-usa/
Post by: Noel_Vera on Mar 22, 2018 at 11:36 PM
Lino Brocka's best-known film 'Maynila sa Mga Kuko ng Liwanag' (Manila in the Claws of Neon) to be released (https://www.criterion.com/films/29221-manila-in-the-claws-of-light) by Criterion on June 12, 2018, or Independence Day.
Some thoughts on the film (https://criticafterdark.blogspot.com/2013/10/maynila-sa-mga-kuko-ng-liwanag-manila.html)
Post by: jas on Mar 31, 2018 at 07:51 AM
Post by: Noel_Vera on Apr 06, 2018 at 03:28 AM
The mind of Mely Tagasa: melodramatic seed from which sprouted Lino Brocka's slum noir masterpiece (https://criticafterdark.blogspot.com/2018/04/insiang-lino-brocka-1976.html)
Available on The Criterion Collection (https://www.criterion.com/films/29099-insiang)
Post by: Klaus Weasley on Apr 07, 2018 at 11:40 PM
Post by: jas on May 03, 2018 at 07:15 AM
On the Facebook page of Citizen Jake, director Mike de Leon appeals to the public for support: “My film may be fiction, but it is based on truths we ignore at our own risk. It should be seen by its audience in its original version, without cuts and without compromise. The film is not perfect, far from it, but it is a good honest film that is seeking an audience that I am convinced is out there. May you allow me to ask for your support?”
Citizen Jake is the story of Jake Herrera, journalist and estranged son of a powerful Philippine senator. More than anything, he wants to prove he is not like his father. This has been the motivation for most of his adult life’s decisions, from career choice to his attempt to build a life for himself far away, in Baguio. But circumstances force him to try to solve the brutal murder of a young, female student from the university he teaches in. The investigation brings him on a path to encounter corruption and to finally face his own demons.
Featuring real life journalist Atom Araullo, playing the titular hero, he is joined by a stellar ensemble that includes Cherie Gil, Dina Bonnevie, Nonie Buencamino, Luis Alandy, Gabby Eigenmann, Max Collins, Teroy Guzman, Lou Veloso, Richard Quan, with Victor Neri, Allan Paule, Anna Luna, Elora Españo, Cholo Barretto, Raquel Villavicencio, Nanding Josef, and Ruby Ruiz.
The screenplay is written by Mike de Leon, Atom Araullo, and Noel Pascual.
Rated R-13 without cuts by the MTRCB, catch Citizen Jake in major cinemas nationwide on May 23, exclusively distributed by Solar Pictures.
Post by: jas on May 07, 2018 at 05:28 PM
Post by: Noel_Vera on May 07, 2018 at 10:54 PM
Tribute to Maryo J. De Los Reyes (1952 - 2018): thoughts (https://criticafterdark.blogspot.com/2018/05/laman-flesh-maryo-de-los-reyes.html) on arguably his best film, an erotic slum noir.
Available online (https://www.magsinetayo.com/films)
Not subtitled and difficult to find--you have to go look at every thumbprint of every page, working backwards, and he's adding titles all the time. Which is why they let him I suppose. Despite all that it's a treasure trove of Filipino films--nothing else like it anywhere else online.
Post by: halvert on May 24, 2018 at 08:29 PM
Post by: Noel_Vera on Jun 04, 2018 at 08:39 PM
Shots fired across Duterte's brow: thoughts (https://criticafterdark.blogspot.com/2018/06/panahon-ng-halimaw-season-of-devil-lav.html) on Lav Diaz's four-hour musical.
Post by: viper on Jun 21, 2018 at 09:31 AM
Citizen jake whoa, walang takot sa libel. Talagang tinira ang mga Marcos, no holds barred. Well-made film that will stay with you long after you leave the cinema. Medyo nakulangan lang ako kay atom. But everyone was amazing.
It is sad that it wasn't able to pull in the box office numbers. Hope this film would raise awareness to the rising threat of a Marcos comeback and re-write our history for the last 40+ years.
All of these blamed on putting a 'criminal' at the top.
Post by: viper on Jun 21, 2018 at 09:32 AM
Post by: Noel_Vera on Jun 22, 2018 at 11:01 PM
Thoughts on Mike de Leon's latest film (https://criticafterdark.blogspot.com/2018/06/citizen-jake-mike-de-leon.html)
Post by: Klaus Weasley on Jun 24, 2018 at 11:23 PM
Post by: Noel_Vera on Jul 13, 2018 at 12:44 AM
Thoughts (https://criticafterdark.blogspot.com/2018/07/bilanggo-sa-dilim-prisoner-in-dark-mike.html) on Mike De Leon's Bilanggo sa Dilim (Prisoner in the Dark), his adaptation of John Fowles' The Collector
Film itself found online (https://www.facebook.com/vintagefilipinocinema/videos/783277675212664/?permPage=1) in six parts with English subtitles
Post by: jas on Jul 19, 2018 at 08:22 AM
August 15 to 21, 2018
https://www.facebook.com/fdcpppp/
https://www.clickthecity.com/movies/a/35148/ppp-2018-heres-everything-you-need-to-know-about-this-year-pista-ng-pelikulang-pilipino
Post by: Noel_Vera on Aug 16, 2018 at 04:55 PM
Thoughts (https://criticafterdark.blogspot.com/2018/08/mamang-denise-ohara.html) on Denise O'Hara's Mamang
Post by: Noel_Vera on Aug 18, 2018 at 01:09 AM
This (https://criticafterdark.blogspot.com/2018/08/balangiga-howling-wilderness-khavn-de.html) is Not an Open Letter to the Cinema Evaluation Board (on their decision to give Balangiga: Howling Wilderness a zero rating)
Post by: Klaus Weasley on Sep 16, 2018 at 11:39 PM
Post by: jas on Oct 06, 2018 at 11:20 AM
A new cut of “Liway” will be presented to viewers when it commences its nationwide run on October 10. Audiences have been awaiting this theatrical release ever since the movie premiered at the Cinemalaya Film Festival where it emerged as the highest-grossing film of the filmfest’s 14-year history.
Based on director Kip Oebanda’s childhood experiences, it stars Glaiza de Castro as Liway/Inday, a young mom raising her child as normal as possible in a makeshift prison camp for dissidents during Martial Law. Using stories and songs, she tries to find joy even in their difficult life. As the reality of the outside world starts creeping into the prison, she must confront the difficult reality that the best interest of the child might be living outside the prison camp, away from her. It is ultimately a story of mother’s great love for her son and the incorruptible light of truth amid dark hopelessness.
Excellent reviews and strong word-of-mouth have catapulted “Liway” to be the Martial Law film of this generation. Aside from being the Cinemalaya 2018 Audience Choice, it also won Special Jury Commendation and Special Jury Citation for child actor Kenken Nuyad. At its full-house Cinemalaya gala night, “Liway” received more than seven minutes of thunderous applause.
https://www.clickthecity.com/movies/a/35718/new-cut-of-liway-to-screen-in-cinemas-nationwide-beginning-oct-10
Post by: jas on Oct 06, 2018 at 11:25 AM
https://youtu.be/E_Q4rbAL9k0
Post by: jas on Oct 06, 2018 at 01:23 PM
Filmmaker Erik Matti will no longer direct the much-awaited movie of Star Cinema "Darna."
Matti bowing out of the project was a mutual understanding between the network, Star Cinema and the director, due to "creative differences," said Kane Choa, head of ABS-CBN Corporate Communications in a statement.
"ABS-CBN, Star Cinema, and director Erik Matti have mutually decided to part ways in the filming of "Darna" because of creative differences and to allow the filmmaker to work on his other projects under his own production company Reality Entertainment," the statement read.
The Kapamilya network and Star Cinema are committed to continue doing the new "Darna" film with its newest director, it added.
A new "Darna" director will be named soon, it added.
https://news.abs-cbn.com/entertainment/10/04/18/due-to-creative-differences-erik-matti-bows-out-of-new-darna-movie
After ‘Darna’ exit, Erik Matti has message for Liza Soberano
Erik Matti confirmed on Thursday that he has resigned as the director of the highly anticipated “Darna” movie, in a statement that also included a message to its lead star, Liza Soberano.
“As it has been announced, I have officially resigned from the movie Darna. It’s been 5 years and how I wish I could have finished it after all the hard work that went into preparing and putting it together. Unfortunately, things didn’t work out ideally for both parties, Darna is personal to me. My first project in the industry was as continuity supervisor for Peque Gallaga’s Darna with Anjanette Abayari. And doing this modern reboot of the classic superhero, I feel that I have come full circle in this industry. I would like to thank my staff and crew who have toiled through the process bringing forth brilliant design and execution ideas as to how we can bring to life a uniquely modern take of our iconic Filipino superhero that can be relevant to the times. To Liza Soberano, thank you for the dedication and commitment. I’m sure you’ll be a kickass Darna. To Star Cinema, ABS-CBN, and the next director, I wish you all the best for this project,”
https://news.abs-cbn.com/entertainment/10/04/18/after-darna-exit-erik-matti-has-message-for-liza-soberano
Post by: Noel_Vera on Oct 08, 2018 at 05:12 PM
Oct. 13 Saturday 3 p.m. at CCP Tanghalang Manuel Conde: Mario O'Hara's Babae sa Bubungang Lata (Woman on a Tin Roof, 1998)--arguably the Philippines' finest film about the art and industry of filmmaking.
Writer-director Frank G. Rivera (who has a supporting role) will introduce the screening; lead actress Aya Rechie Medel will be attending.
Some thoughts on the picture (https://criticafterdark.blogspot.com/2008/08/babae-sa-bubungang-lata-woman-on-tin.html)
Post by: Klaus Weasley on Oct 13, 2018 at 12:12 AM
Post by: Klaus Weasley on Oct 14, 2018 at 08:32 PM
Post by: syoti on Oct 17, 2018 at 05:44 PM
Liway (Kip Oebanda) ***1/2 - This is an autobiographical film about a young boy whose parents were political activists who were imprisoned during the Martial Law era. He was born and grew up in the detention compound where his mother tells him stories of an enchantress called "Liway". This film came at the right time with dictatorship and historical revisionism creeping into government. This is a sobering reminder of the truth. The film can be harrowing but it is tempered by a sense of goodness and innocence which I found quite moving and the thing that sets it apart from other Martial Law films. Again, this is essential viewing for all Filipinos at the this day and age.
the one released in cinems is uncut verion dw. do you know any difference from the one shown in cinemalaya?
Post by: rse on Oct 19, 2018 at 05:46 PM
It was technically brilliant! At least for a Filipino film. The sound design was good, although I didn't fully buy the production design as there were plenty of times when I was aware that most of the "slum area" was a set. So the look was more polished than gritty. It was well cast, although the story was bare minimum so there was no emotional hook. So even though there was a lot of body count, the deaths didn't really have an impact on me. Also, the movie had a comic book feel to it so when it went to its serious political commentaries, they felt forced and awkward. But my major problem with this movie being an action movie was that I found the fight sequences to be repetitive, to a point of exhausting. Also, the fight choreography was sloppy in places. And was it just me, but how come ordinary slum dwellers knew martial arts?
Post by: Klaus Weasley on Oct 20, 2018 at 11:33 PM
A Short History of a Few Bad Things (Keith Deligero) ***1/2 - A Tagalog police detective investigate a series of killings in the Southern Philippine city of Cebu. This is a really effective piece of neo-noir police procedural which grips you from the start and never lets you go and keep guessing where it's going until it lays out all its cards. In many ways, we've seen it before but not a lot in Philippine cinema and certainly not a lot in the Cebuano language. I also appreciated the fact that it sprinkles in quite a bit of humor and it's not a preachy dead serious film about the country's political situation although it's also effective in that arena too. This is one you need to check out.
Post by: Klaus Weasley on Oct 23, 2018 at 01:05 AM
Ave (Masla a Papanok) (Gutierrez Manangsakan II) **1/2 - During the Spanish colonial period in the Philippines, a young princess from a native Filipino village escapes to a Catholic convent. At the same time, a mysterious giant bird re-appears that appears to be a harbinger of doom. First off, when I read the synopsis, I had high hopes for it. I've always felt that there aren't quite enough Filipino films made set during the Spanish colonial period. The problem with this is the execution. The film seems to suffer from some amateurish acting and directing that took me out of it. I saw that Lav Diaz was involved with the script. I could definitely see how his touch would have made this film sing (of course it would be 4 times longer.)
Post by: Klaus Weasley on Oct 24, 2018 at 01:14 AM
Post by: rse on Oct 27, 2018 at 03:39 AM
Rant. Politics. Family drama, Baguio. Rich people problems. Meta. More rants.
I don’t know. This movie is too angry. It feels like an endless string of rants. It’s so unfocused and for some reason, either intentional or not, the camera work feels amateurish in places. The acting in general is awful. Most of the actors are so stiff saved for a few of the veterans. I don’t know. The meta elements are confusing, the politics feel like sermons, and the rants...it feels as if the director is holding a megaphone while shouting at you in front of the screen. To top it all, the characters and the main story are just not that interesting.
For the curious only. Others, beware.
BTW, this movie is available for rent on Vimeo for those who are interested.
Outside the Philippines:
https://vimeo.com/ondemand/citizenjakeinternational?fbclid=IwAR1_uvVzfmBs61tlR3bVbVJZF8J4eq43qwoPLfca8mw1LggaP3WGvy1KNAI
In the Philippines:
https://vimeo.com/ondemand/citizenjake?fbclid=IwAR3TIHRlZdX7qFEwycjPF5rWZAe17SsY8dzgFQunqiYewe2DAz3AFwE5WHI
Post by: Klaus Weasley on Oct 29, 2018 at 01:55 AM
Post by: Klaus Weasley on Nov 11, 2018 at 11:51 PM
Post by: Klaus Weasley on Nov 18, 2018 at 12:19 AM
Post by: Klaus Weasley on Nov 26, 2018 at 01:07 AM
Post by: puffalan84 on Jan 04, 2019 at 11:03 AM
Post by: Klaus Weasley on Jan 12, 2019 at 02:06 AM
Post by: Noel_Vera on Jan 25, 2019 at 02:54 AM
The in my book best films of 2018 (https://criticafterdark.blogspot.com/2019/01/the-hate-list.html)
Post by: Klaus Weasley on Jan 27, 2019 at 01:22 AM
Post by: Klaus Weasley on Feb 09, 2019 at 11:39 PM
Post by: jas on Feb 10, 2019 at 09:45 AM
Acclaimed director and film producer Erik Matti believes the local film industry is in a “dire situation” amid the lackluster performance of recent releases at the box office.
Matti, co-founder of film outfit Reality Entertainment, referred to the string of flops as “alarming” in a Facebook post on Thursday.
He wrote: “Someone should do something about it. Government should intervene. This is not a slow death anymore. We are on life support and we need resuscitation. No more pointing fingers. I think we’re beyond that at this point. This is a plea for help.
“The film industry is at its busiest the past three years but no one gets to see the movies we make except for the sporadic mega hits. Hundreds of movies are being made now but no one is really doing good business including the big studios. What happened to our local audience?”
“Is it the online platforms killing us? Is it support of cinemas? Is it Hollywood? Is it bad marketing? Is it esoteric, irrelevant, tired or uninteresting stories? Is it traffic? Is it downloads? Is it poverty? Has our audience outgrown our films? I really don’t know at this point,” Matti wrote.
https://news.abs-cbn.com/entertainment/02/07/19/this-is-alarming-erik-matti-says-film-industry-in-dire-situation-after-string-of-flops
Post by: halvert on Feb 10, 2019 at 05:59 PM
Post by: newwaveboy on Feb 10, 2019 at 07:06 PM
Even Hollywood itself has long seen a major nosedive when it comes to the creativity-factor ........... matagal nang puro remake, reboot & sequels na lang.
Everyone seems to be on streaming now ............ why spend a large sum in the cinemas (movie, food, etc) when anyone can do it in his place and gadget of choice.
Post by: Klaus Weasley on Feb 17, 2019 at 01:53 AM
Post by: jas on Feb 27, 2019 at 02:51 PM
Yo!
Directed by Erik Matti
This year, Erik Matti is back with a film set in a computer generated world. Titled Yo!, the film casts South East Asia's top taekwondo champion, the Filipina Pauline Lopez to play the main protagonist Tala Aragon.
Unlike the bloodshed of films On The Job and BuyBust, or the mature and dark plots of Honor Thy Father and Seklusyon, the director announced that the upcoming film is a family movie on a hyper real fantasy.
"A film set in its own world with its own kind of pop jargon set in urban manila with some hyper real settings. Please note that they will not be in cyberspace but they will be in their own animated graphic world when they focus on their best friend, the yoyo." explains Matti.
TEASER TRAILER:
https://youtu.be/q9LPACrpbGo
Post by: Klaus Weasley on Mar 02, 2019 at 09:56 AM
Post by: halvert on Mar 02, 2019 at 01:33 PM
Post by: Klaus Weasley on Mar 07, 2019 at 08:49 PM
Post by: jas on Mar 10, 2019 at 07:54 AM
Directed by Mikhail Red
Starring Bea Alonzo and Charo Santos
In cinemas starting March 27, 2019
TRAILER:
https://youtu.be/XHHtvCft9IU
Post by: Klaus Weasley on Mar 16, 2019 at 09:53 AM
Post by: Klaus Weasley on Mar 17, 2019 at 12:35 AM
Post by: Klaus Weasley on Mar 24, 2019 at 07:44 AM
Post by: jas on Mar 24, 2019 at 08:11 AM
Directed by Mikhail Red
Written by Red’s younger brother Nikolas, Dead Kids marks the 27-year-old’s first foray into dark comedy. It tells the story of a gang of beat-down high schoolers who plot to kidnap the class jock, who happens to be the son of a corrupt politician, and hold him to ransom.
Produced by Globe Studios, and boasting a cast that includes Khalil Ramos, Vance Larena, Kelvin Miranda, Jan Silverio, Gabby Padilla, Sue Ramirez and Markus Paterson.
TEASER TRAILER:
https://youtu.be/OFKnelgh12I
Post by: jas on Apr 05, 2019 at 07:10 AM
An emotional Liza Soberano announced on Thursday that she has withdrawn from the titular role of Darna, in the latest setback to beset the film project that was first announced in 2014.
Soberano, who was introduced as the millennial iteration of the komiks icon in May 2017, cited an injury as the reason behind her decision to quit the Star Cinema production.
In August 2018, the 21-year-old actress fractured her right index finger in an accident on the set of the now-defunct fantaserye “Bagani.” At the time, she was also juggling physical preparations for “Darna.”
ABS-CBN and Star Cinema, in a statement, said they “understand Liza’s condition, respect her decision, and wish her well on her recovery.” The film outfit also clarified that the “Darna” movie will push through, and that it has started the selection process for a new actress.
https://news.abs-cbn.com/entertainment/04/04/19/full-video-tearful-liza-soberano-withdraws-from-darna-film-project
Post by: jas on Apr 11, 2019 at 08:30 AM
KUWARESMA
Directed by Erik Matti
Starring Sharon Cuneta, John Arcilla, Kent Gonzales
In Cinemas on May 15, 2019
TRAILER:
https://youtu.be/jZ8jTOYeBBs
Post by: Noel_Vera on Apr 12, 2019 at 01:43 AM
Thoughts (https://criticafterdark.blogspot.com/2019/04/huk-sa-bagong-pamumuhay-huk-in-new-life.html) on Lamberto Avellana's classic film about the Hukbalahap, now available on Mike de Leon's Citizen Jake website.
Post by: Klaus Weasley on Apr 14, 2019 at 12:34 AM
Post by: Noel_Vera on May 02, 2019 at 11:29 PM
Thoughts (https://criticafterdark.blogspot.com/2019/05/badjao-sea-gypsies-lamberto-avellana.html) on what may be Lamberto Avellana's masterpiece, Badjao.
Post by: Noel_Vera on May 10, 2019 at 02:19 AM
My fourteen--no fifteen--greatest Filipino films ever made (https://criticafterdark.blogspot.com/2013/05/fourteen-filipino-films.html)
Post by: Klaus Weasley on May 20, 2019 at 12:38 PM
Post by: Noel_Vera on May 24, 2019 at 01:48 AM
Thoughts on Anak Dalita (https://criticafterdark.blogspot.com/2019/05/anak-dalita-child-of-sorrow-lamberto.html), Lamberto Avellana's best-known film noir, streaming online with English subtitles
Post by: Noel_Vera on May 30, 2019 at 09:21 AM
Thoughts on Lamberto Avellana's Kundiman ng Lahi (https://criticafterdark.blogspot.com/2019/05/kundiman-ng-lahi-folksong-lamberto.html) (Follksong, 1959) now available online
Post by: Noel_Vera on Jun 07, 2019 at 09:40 AM
Forget Disney's live-action Cinderella, this is the fairy tale I'd rather watch: Pag-asa (https://criticafterdark.blogspot.com/2019/06/pag-asa-hope-lamberto-avellana-1951.html) (Hope, 1951)--reasonably clear copy, with English subtitles
Post by: Klaus Weasley on Jun 09, 2019 at 07:06 PM
Post by: jas on Jun 13, 2019 at 12:25 PM
Hintayan sa Langit (Dan Villegas) *** - An elderly man dies and goes to a Purgatory type place. While there, he meets up with a former flame and rekindle their romance. Finally caught up with this one after missing it at the QCinema Film Festival. Personally, I wasn't a complete fan of the pay off/ending. However, the film works primarily because of the chemistry between veteran Filipino actors Eddie Garcia and Gina Pareno who are simply funny and lovely together. The film's concept of the afterlife is also pretty unique and the film does tackle some heady existential issues on death and grieving and it's also refreshingly ecumenical.
HINTAYAN NG LANGIT is now streaming on Netflix.
Post by: jas on Jul 09, 2019 at 06:42 PM
Directed by Mikhail Red
Block Z is an upcoming Philippine zombie film starring Julia Barretto, Joshua Garcia, Ian Veneracion, Maris Racal, Dimples Romana, McCoy de Leon, Yves Flores, and Ina Raymundo.
It follows a group of university students who try to survive the undead during a deadly viral outbreak.
TEASER TRAILER:
https://youtu.be/xYhTiwXDCs0
Post by: JeromeA on Jul 10, 2019 at 12:29 PM
HINTAYAN NG LANGIT is now streaming on Netflix.
love this film.
Post by: JeromeA on Jul 13, 2019 at 12:02 AM
Post by: jas on Jul 18, 2019 at 10:22 AM
After months of searching, a new actress was cast in the coveted role of Darna for the upcoming film remake of Mars Ravelo's beloved superhero story.
ABS-CBN Films managing director Olivia Lamasan told ABS-CBN News on Wednesday, July 17, that 20-year-old Jane de Leon has been chosen to play the iconic superhero out of 300 celebrities who auditioned.
She said that choosing Jane was a unanimous decision.
"'Yung Darna story natin ngayon (Our Darna story now) is a genesis story, a coming of age [story]. Ang requirement talaga (The requirement really) is somebody na (who is) young and with an air of innocence, but at the same time strength of character,” Olivia said.
There's no word yet on when the film will start production, but director Jerrold Tarog is eyeing a late 2020 release.
https://www.rappler.com/entertainment/news/235613-jane-de-leon-new-darna
IN PHOTOS: Meet the new Darna, Jane De Leon
https://news.abs-cbn.com/entertainment/07/17/19/in-photos-meet-the-new-darna-jane-de-leon
Post by: jas on Jul 18, 2019 at 05:03 PM
The director shares his plans for the upcoming superhero film.
https://www.rappler.com/entertainment/movies/235622-jerrold-tarog-on-more-nuanced-introspective-darna
Post by: halvert on Jul 18, 2019 at 11:28 PM
Post by: jas on Jul 30, 2019 at 08:02 AM
EERIE
Directed by Mikhail Red
Starring Bea Alonzo and Charo Santos
In cinemas starting March 27, 2019
TRAILER:
https://youtu.be/XHHtvCft9IU
Now on Netflix.
Post by: Klaus Weasley on Aug 04, 2019 at 08:55 AM
Post by: oweidah on Aug 06, 2019 at 06:42 AM
Hello, Love, Goodbye (Cathy Garcia-Molina) *** - A young Filipino woman working in Hong Kong meets a young bartender. She's about to complete her contract and go to greener pastures in Canada. Normally, I wouldn't go for this type of film. And it's by Cathy Garcia-Molina, so seeing her name normally makes me go to the opposite direction, having seen a few of her past films. But this one, to her credit, has a bit more substance. There's a compelling drama here about the plight of Overseas Filipino Workers (OFW's) but blended with the formulaic romantic-dramedy that is her bread and butter. They do the usual "hugot" emotional romantic scene in the end where they telegraph every emotion through overly written emotional speeches each trying to out-romance each other. But it's still a solid drama before that.
mga fanboys,
payag ba kayo sa bagong love team? hahaha
hindi ko napanood, pero ampf, ang haba ng pila kahapon ng mga tanders mostly women. fans din kaya sila ni guy n pip, vi n bot noon? tumili din kaya sila sa loob ng cine?
yeko star magic nd dos huli ang kiliti.
https://www.google.com/amp/s/entertainment.inquirer.net/340901/hello-love-goodbye-rakes-in-p250m-in-5-days/amp
Post by: oznola on Aug 06, 2019 at 07:03 AM
Post by: JeromeA on Aug 06, 2019 at 07:07 AM
^its probably because libre silang mga seniors thats why
this.. kahit sa amin ang haba ng pila ng mga damatands.
Post by: oweidah on Aug 06, 2019 at 08:00 AM
buti naman pinoy film ang pinanood.
dati lionking, spiderman, avengers etc di napuno, wala pila. ng seniors, eto ang haba.
how i wish maglagay ng mga upuan kesa nakatayo sa pila mga tanders. di daw nila expected ganun kadami tanders, tas kambio, mag 20% disc na lang, hiwalay kase pila. ...sa huli inaccomodate na rin tanders sa paying lane. tsk
Post by: JeromeA on Aug 06, 2019 at 08:05 AM
given na yun, matic.
buti naman pinoy film ang pinanood.
dati lionking, spiderman, avengers etc di napupuno, wala pila ng seniors, eto ang haba.
how i wish maglagay ng mga upuan kesa nakatayo sa pila mga tanders. di daw nila expected ganun kadami tanders, tas kambio, mag 20% disc na lang, hiwalay kase pila. ...sa huli inaccomodate na rin tanders sa paying lane. tsk
baka kaya wlang pila sa mga blockbuster holywood films kasi nasaktong punta mo sir sa mall 1st week of showing. alam ko kasi hindi sila pwede pag ganun. yung nanay ko nga tinalo pa ko. minsan sakin pa nagkukwento, lahat napapanood nila sa sine samantalang ako piling pili lang.
Post by: oweidah on Aug 06, 2019 at 08:09 AM
lion fastnfurios9 kasabayan ata. usually next week after opening pwede na tanders.
ganun din kaya sa susunod un indak? baon na lang ng flanax hehe
tanders free rock !
tanders libre bato!... ay
Post by: JeromeA on Aug 06, 2019 at 08:19 AM
5 days pa lan yun pinoy film.
lion fastnfurios9 kasabayan ata. usually next week after opening pwede na tanders.
ganun din kaya sa susunod un indak? baon na lang ng flanax hehe
tanders free rock !
tanders libre bato!... ay
meron ako narinig sa isang friend kung bakit mas gusto nya panoorin sa cine mga pinoy films compare sa mga holywoods. kasi daw pag pinoy films taon ata bago lumabas ang official digital copy, samantalang pag holywood daw mabilis.
Post by: oweidah on Aug 06, 2019 at 08:51 AM
maitanong nga k efren
Post by: Klaus Weasley on Aug 06, 2019 at 12:47 PM
mga fanboys,
payag ba kayo sa bagong love team?
TBH, I didn't even know this was a thing. I want to add that I think I finally know the difference between Kathryn Bernardo and Nadine Lustre now. LOL.
BTW, for those of you who has seen Hello, Love, Goodbye, did anyone else feel that the initial pitch for this movie was a narrative version of the Sunday Beauty Queen documentary and it morphed into this? I felt that.
Post by: thebat on Aug 18, 2019 at 11:15 PM
Post by: halvert on Aug 19, 2019 at 06:18 PM
Post by: oweidah on Aug 19, 2019 at 09:29 PM
Post by: halvert on Aug 22, 2019 at 08:38 PM
https://www.youtube.com/channel/UCzggCZVkynvnjNV29L9EccA
Post by: Noel_Vera on Aug 23, 2019 at 11:23 PM
Post by: thebat on Aug 25, 2019 at 06:40 PM
just watched hello ,nice movie
Post by: Klaus Weasley on Sep 19, 2019 at 02:54 PM
Post by: Noel_Vera on Sep 19, 2019 at 04:36 PM
Post by: Klaus Weasley on Sep 19, 2019 at 04:38 PM
Did you like it?
I did. It's the best Brillante Mendoza film not directed by Brillante Mendoza (though he produced and served as creative consultant). Probably my third favorite Filipino film this year behind John Denver Trending and Lola Igna.
It won't stand a chance against Parasite this year though.
Post by: Klaus Weasley on Oct 28, 2019 at 01:32 AM
Post by: jas on Oct 28, 2019 at 02:26 PM
DEAD KIDS
Directed by Mikhail Red
Written by Red’s younger brother Nikolas, Dead Kids marks the 27-year-old’s first foray into dark comedy. It tells the story of a gang of beat-down high schoolers who plot to kidnap the class jock, who happens to be the son of a corrupt politician, and hold him to ransom.
Produced by Globe Studios, and boasting a cast that includes Khalil Ramos, Vance Larena, Kelvin Miranda, Jan Silverio, Gabby Padilla, Sue Ramirez and Markus Paterson.
TEASER TRAILER:
https://youtu.be/OFKnelgh12I
UPDATE:
(https://i.imgur.com/1g413Q6.jpg)
From Mikhail Red, the director that gave us films like Birdshot and Eerie, comes Dead Kids a coming-of-age, thriller, and crime store all mixed into one eye-opening film. The film, which features a cast of young actors like Sue Ramirez, Khalil Ramos, and Vance Larena is set to arrive on Netflix later this year, as announced by the streaming site.
Post by: Noel_Vera on Nov 06, 2019 at 03:58 PM
For my 1000th blog post: thoughts (https://criticafterdark.blogspot.com/2019/11/biyaya-ng-lupa-blessings-of-land-manuel.html)on arguably one of the greatest films Filipino or otherwise ever made, Manuel Silos' Biyaya ng Lupa (Blessings of the Land, 1959).
Available online, with English subtitles.
Post by: jas on Nov 18, 2019 at 02:59 PM
https://youtu.be/hBiGo2A-1Qg
Post by: Noel_Vera on Nov 28, 2019 at 01:54 PM
Thoughts (https://criticafterdark.blogspot.com/2019/11/bulaklak-sa-city-jail-flowers-of-city.html) on Mario O'Hara's women-in-prison neo-noir classic
Post by: Klaus Weasley on Dec 24, 2019 at 10:47 AM
Post by: jas on Dec 28, 2019 at 11:51 AM
https://cnnphilippines.com/life/entertainment/2019/12/23/best-films-of-the-2010s-decade.html
Post by: jas on Jan 02, 2020 at 07:57 PM
BLOCK Z
Directed by Mikhail Red
Block Z is an upcoming Philippine zombie film starring Julia Barretto, Joshua Garcia, Ian Veneracion, Maris Racal, Dimples Romana, McCoy de Leon, Yves Flores, and Ina Raymundo.
It follows a group of university students who try to survive the undead during a deadly viral outbreak.
TEASER TRAILER:
https://youtu.be/xYhTiwXDCs0
BLOCK Z Trailer:
https://youtu.be/kYb9eAu27Vo
Post by: Klaus Weasley on Jan 03, 2020 at 12:33 PM
CNN's The 25 Best Filipino Films of the Decade
https://cnnphilippines.com/life/entertainment/2019/12/23/best-films-of-the-2010s-decade.html
My list:
01. NORTE, THE END OF HISTORY (2013, Lav Diaz)
02. SIX DEGREES OF SEPARATION FROM LILIA crapAPAY (2011, Antoinette Jadaone)
03. TRANSIT (2013, Hannah Espia)
04. THE WOMAN WHO LEFT (2017, Lav Diaz)
05. BALANGIGA: HOWLING WILDERNESS (2017, Khavn De La Cruz)
06. SANA DATI (2013, Jerrold Tarog)
07. ANINO SA LIKOD NG BUWAN (2015, Jun Robles Lana)
08. HONOR THY FATHER (2015, Erik Matti)
09. DAGITAB (2014, Giancarlo Abrahan)
10. VIOLATOR (2014, Eduardo Dayao)
11. A LULLABY TO THE SORROWFUL MYSTERY (2016, Lav Diaz)
12. CHANGING PARTNERS (2017, Dan Villegas)
13. BLISS (2017, Jerrold Tarog)
14. ODA SA WALA (2018, Dwein Baltazar)
15. THAT THING CALLED TADHANA (2014, Antoinette Jadaone)
16. JOHN DENVER TRENDING (2019, Arden Rod Condez)
17. BUYBUST (2018, Erik Matti)
18. KANO: AN AMERICAN AND HIS HAREM (2010, Monster Jimenez)
19. RESPETO (2017, Treb Monteras II)
20. APOCALYPSE CHILD (2015, Mario Cornejo)
21. HOW TO DISAPPEAR COMPLETELY (2013, Raya Martin)
22. EKSTRA (The Bit Player) (2013, Jeffrey Jeturian)
23. SUNDAY BEAUTY QUEEN (2016, Baby Ruth Villarama)
24. THY WOMB (2012, Brillante Mendoza)
25. ZOMBADINGS 1: PATAYIN SA SHOKOT SI REMINGTON (2011, Jade Castro)
Post by: jas on Jan 21, 2020 at 03:59 PM
SONG OF THE FIREFLIES
Directed by King Palisoc
Written by Sarge Lacuesta
Music by Ryan Cayabyab
Lyrics by Sarge Lacuesta
Musical Direction by Krina Cayabyab
Cinematography by Pong Ignacio
Starring: Morissette Amon, Rachel Alejandro, Noel Comia Jr., Krystal Brimner, Cris Villonco, and the Loboc Children's Choir
FIRST TRAILER:
https://youtu.be/aua1ammUuiA
Post by: Noel_Vera on Jan 28, 2020 at 09:43 AM
My thoughts on Laura Greenfield's The Kingmaker (https://criticafterdark.blogspot.com/2020/01/the-kingmaker-lauren-greenfield.html)
Screening at the CCP 1/29/20, 3 and 7.30 PM
Post by: Noel_Vera on Feb 07, 2020 at 01:20 AM
My Best of 2019 (https://criticafterdark.blogspot.com/2020/01/best-of-2019.html) list
And Best of 2019: The Sequel (https://criticafterdark.blogspot.com/2020/02/best-of-2019-sequel.html)
Post by: jas on Feb 17, 2020 at 07:25 AM
DEATH OF NINTENDO
Directed by Raya Martin
Written by Valerie Castillo–Martinez
Set in the suburbs of 90s Manila, just before the catastrophic Mount Pinatubo eruption, Death of Nintendo follows the misadventures of four video game-crazed 13-year old friends as they navigate the challenges of adolescence including first love and circumcision.
Death of Nintendo will premiere in Berlinale 2020, an international film festival held in Berlin which is slated to open on February 20 of this year.
Death of Nintendo stars Noel Comia, Jr., Kim Chloie Oquendo, Jiggerfelip Sementilla, John Vincent Servilla, Moi Bien, Nikki Valdez, Angelina Kanapi, Jude Matthew Servilla, Elijah Alejo, Cayden Williams, and Agot Isidro.
The film will be shown in the Philippines after it finishes its festival tour.
https://www.clickthecity.com/movies/a/39118/nostalgic-pinoy-film-debuts-at-berlinale-2020
TEASER:
https://www.youtube.com/watch?v=DMKQTKtvnDc
Post by: jas on Mar 04, 2020 at 03:31 PM
Based on the South Korean blockbuster hit of the same title, comes the Filipino adaptation of the action thriller, "A Hard Day," starring Dingdong Dantes and John Arcilla. Directed by Lawrence Fajardo.
TRAILER:
https://www.youtube.com/watch?v=uw9jkEYlr3s
Post by: jas on Mar 15, 2020 at 05:12 PM
It seems everyone is willing to pitch in as Metro Manila and several other provinces in the country are under "community quarantine" in an effort to control the spread of the novel coronavirus.
Philippine film production studio, TBA, is uploading several of its full-length films on YouTube. Yup, that's right – free of charge.
Titles now available to stream for free include Bliss, Gayuma, Iisa, Dormitoryo, Patintero, Matangtubig, and Water Lemon.
https://www.rappler.com/entertainment/movies/254606-tba-studios-full-movie-youtube
Post by: jas on Mar 15, 2020 at 05:15 PM
Post by: jas on Mar 18, 2020 at 02:33 PM
TBA just uploaded some of their movies for free on YouTube
It seems everyone is willing to pitch in as Metro Manila and several other provinces in the country are under "community quarantine" in an effort to control the spread of the novel coronavirus.
Philippine film production studio, TBA, is uploading several of its full-length films on YouTube. Yup, that's right – free of charge.
Titles now available to stream for free include Bliss, Gayuma, Iisa, Dormitoryo, Patintero, Matangtubig, and Water Lemon.
https://www.rappler.com/entertainment/movies/254606-tba-studios-full-movie-youtube
Better article with synopsis and video links....
12 Filipino Films You Can Now Stream For Free
https://www.clickthecity.com/movies/a/39340/12-filipino-films-you-can-now-stream-for-free
Post by: jas on Mar 30, 2020 at 12:11 PM
A collection of short films from the Philippines and other Southeast Asian countries are now available online for binge-watching, in a campaign to raise funds for film workers affected by the Luzon-wide lockdown.
The Lockdown Cinema Club is an intiative by indepent Filipino filmmakers including filmmaker Carl Chavez, producer Alemberg Ang, cinematographer Mackie Galvez, and producer and actress Camille Aragona.
The initiative invites viewers to "watch all you want, give what you can," with funds going to around 1,000 low income, no work-no pay film industry workers including utility personnel, setmen, frips, electricians, production assistants, and post-production staff.
https://www.rappler.com/entertainment/movies/255383-discover-new-films-help-indie-film-workers-lockdown-cinema-club
Post by: Noel_Vera on Mar 31, 2020 at 12:49 PM
It's said that Mike De Leon's Kisapmata is inspired by Stanley Kubrick's The Shining. I think this is better. Some thoughts (https://criticafterdark.blogspot.com/2020/03/kisapmata-mike-de-leon.html) on the film
Post by: Noel_Vera on Apr 23, 2020 at 05:11 PM
At long last and a little long (it got away from me), my Best of the 2010s (https://criticafterdark.blogspot.com/2020/04/best-films-of-2010s.html) list. Includes some Filipino titles.
Post by: Noel_Vera on May 03, 2020 at 01:58 PM
Thoughts on Victor Villanueva's Patay na si Hesus (https://criticafterdark.blogspot.com/2020/04/patay-na-si-hesus-jesus-is-dead-victor.html), on vimeo on demand
Post by: Noel_Vera on May 14, 2020 at 11:57 PM
Post by: jas on May 16, 2020 at 10:30 AM
SUNDAY BEAUTY QUEEN
https://youtu.be/TB_bwb7K-7E
WOMEN OF THE WEEPING RIVER
https://youtu.be/r0L3348YyOg
NEOMANILA
https://youtu.be/XoRuBcHbbQs
JOHN DENVER TRENDING
https://www.iwant.ph/
Post by: jas on May 25, 2020 at 04:06 PM
1. PINOY SUNDAY (Changhe Films Ltd)
Inspired by a 1958 Roman Polanski short, this lighthearted examination of modern life in Taipei follows two Filipino immigrants, Manuel and Dado, during their day off from work, when the chance discovery of a discarded couch leads to adventure.
Director: Widing Ho
Cast: Bayani Agbayani, Jeffrey Quizon, Nor Domingo, Dave Ronald Chang, Meryll Soriano, Alessandra de Rossi
Release date: June 5, 2020
2. SUNOD (Black Cap Pictures Inc.)
As the medical expenses for her daughter stack up, a mother takes a demanding call center job where the building's sinister secrets begin to haunt her.
Director: Carlo Ledesma
Cast: Carmina Villarroel, Mylene Dizon, JC Santos, Kate Alejandrino, Krystal Brimner, Rhed Bustamante, Susan Africa
Release date: June 14, 2020
3. LOLA IGNA (ERJ Found Film Production Co.)
An elderly woman finds her life disrupted when her family and village realize she has a chance at a world record for being the oldest grandmother alive. ('Lola Igna' was awarded Best Picture, Best Screenplay, Best Musical Score and Best Actress at the 2019 Pista ng Pelikulang Pilipino Awards Night.)
Director: Eduardo W. Roy Jr.
Cast: Angie Ferro, Yves Flores, Meryll Soriano, Maria Isabel Lopez, Royce Cabrera, Jojo Riguerra, Armando A. Reyes
Release date: June 18, 2020
4. UNTRUE (Viva Communications Inc.)
Mara moves from the Philippines to the country of Georgia, where she meets a mysterious man, Joachim. They develop feelings for one another, until Joachim claims to hear peculiar sounds and see visions of a strange woman.
Director: Sigrid Andrea Bernardo
Cast: Cristine Reyes, Xian Lim
Release date: June 22, 2020
5. ORDINARY PEOPLE (PAMILYA ORDINARYO) (ERJ Found Film Production Co.)
Barely making a living as pickpockets, a teenage couple in Manila resort to desperate measures when their one-month-old child is kidnapped. ('Ordinary People,' released locally as 'Pamilya Ordinaryo,' was awarded Best Film, Best Editing, Best Actress, and Best Director at the 12th Cinemalaya Independent Film Festival, as well as Best Actress at the Asia Pacific Screen Awards and FAP Awards.)
Director: Eduardo W. Roy Jr.
Cast: Ronwaldo Martin, Hasmine Kilip, Maria Isabel Lopez, Sue Prado, Ruby Ruiz, Raymon Lee, Karl Medina, Erlina Villalobos, Menggie Cobrarrubias
Release date: To be announced
https://news.abs-cbn.com/entertainment/05/25/20/5-filipino-films-to-make-netflix-premiere-in-june
Post by: Klaus Weasley on Jun 13, 2020 at 12:12 AM
Post by: Klaus Weasley on Jun 14, 2020 at 10:18 AM
Post by: thebat on Jun 14, 2020 at 10:55 AM
Post by: Klaus Weasley on Jun 14, 2020 at 11:20 PM
Saan kaya mapapanuod yang A Thousand Cuts? I missed out on the streaming the other day.
Ramona Diaz says she and the producers are working on allowing it to be available again. I'll post the link when that happens.
Post by: thebat on Jun 15, 2020 at 12:58 PM
Ramona Diaz says she and the producers are working on allowing it to be available again. I'll post the link when that happens.
Yes please. Thanks.
Post by: halvert on Jun 21, 2020 at 01:22 AM
Post by: thebat on Jul 02, 2020 at 11:00 AM
Post by: Noel_Vera on Jul 27, 2020 at 10:51 PM
My thoughts on Pamilyang Ordinaryo (https://criticafterdark.blogspot.com/2020/07/pamilyang-ordinaryo-ordinary-people.html) (Ordinary People), now streaming on Netflix with English subtitles
Post by: jas on Jul 31, 2020 at 09:49 AM
CINEMALAYA SETS SAIL WITH ITS DIGITAL EDITION THIS AUGUST
The Cinemalaya Philippine Independent Film Festival continues to sail on its 16th year with its digital edition slated on August 7 to 16, 2020. Because of the COVID-19 pandemic, the country’s biggest independent film festival will be screened on Vimeo.
Co-produced by the Cultural Center of the Philippines and the Cinemalaya Foundation Inc., this year’s film festival will feature Short Films in Competition.
Out of 244 entries submitted, 10 short films were selected and will vie for the Best Film award. These are: ANG GASGAS NA PLAKA NI LOLO BERT (THE BROKEN VINYL RECORD) by JANINA GACOSTA AND CHESKA MARFORI; ANG PAGPAKALMA SA UNOS(TO CALM THE PIG INSIDE) by JOANNA VASQUEZ ARONG; EXCUSE ME MISS, MISS, MISS by SONNY CALVENTO; FATIGUED by JAMES ROBIN MAYO; LIVING THINGS by MARTIKA RAMIREZ ESCOBAR; PABASA KAN PASYON by HUBERT TIBI; QUING LALAM NING ALDO (UNDER THE SUN) by REEDEN FAJARDO; THE SLUMS by JAN ANDREI COBEY; TOKWIFI by CARLA PULIDO OCAMPO; and UTWAS (ARISE) by RICHARD SALVADICO AND ARLIE SWEET SUMAGAYSAY.
http://www.cinemalaya.org/cinemalaya-sets-sail-with-its-digital-edition-this-august/
Post by: Noel_Vera on Aug 24, 2020 at 10:10 PM
My Best of 1995 (https://criticafterdark.blogspot.com/2020/08/best-of-1995.html) list. Some notes: wish my 25 year younger self recognized the value of Amy Heckerling's 'Clueless' and Gillian Armstrong's 'Little Women' more and saw through the glitter of 'Pulp Fiction's' Palme D'Or win; also wonder what I was thinking mentioning Shawshank, Apollo 13, and Se7en. Otherwise--well take a look
Post by: Noel_Vera on Aug 26, 2020 at 12:06 AM
On Cineaste.com (https://www.cineaste.com/): my article on Jose B. Capino's 'Martial Law Melodrama: Lino Brocka's Cinema Politics' is available on print only, so if you have the spare dollar, grab a copy
Post by: Noel_Vera on Sep 03, 2020 at 12:14 AM
My thoughts on Auraeus Solito's (AKA Kanakan Balintagos) debut feature, the charming Ang Pagdadalaga ni Maximo Oliveros (https://criticafterdark.blogspot.com/2020/09/ang-pagdadalaga-ni-maximo-oliveros.html) streaming in Cinema One Original's Youtube channel (https://www.youtube.com/watch?v=FSn1qFpdNXs)till Sept. 6, 11.59 PM. With English subtitles.
Post by: Klaus Weasley on Sep 14, 2020 at 11:01 AM
Post by: Noel_Vera on Sep 15, 2020 at 04:30 AM
Thoughts on Tatarin (https://criticafterdark.blogspot.com/2020/09/tatarin-summer-solstice-2001.html), Tikoy Aguiluz's adaptation of Nick Joaquin's classic war-of-the-sexes play
Post by: jas on Sep 18, 2020 at 09:47 AM
https://www.pikapika.ph/pikadaily/viva-to-launch-vivamax-the-countrys-biggest-filipino-streaming-platform
Post by: neilc on Sep 18, 2020 at 12:23 PM
Viva to launch VIVAMAX, the country’s biggest Filipino streaming platform
https://www.pikapika.ph/pikadaily/viva-to-launch-vivamax-the-countrys-biggest-filipino-streaming-platform
There’s a pinoy streaming app already. Try PopTV Pinas.
Sent from my iPhone using Tapatalk Pro
Post by: Noel_Vera on Sep 18, 2020 at 01:02 PM
Thoughts on Sari Dalena's affectionate portrait of Nick Joaquin, Dahling Nick (https://criticafterdark.blogspot.com/2020/09/dahling-nick-sari-dalena-2015.html)
Post by: jas on Sep 21, 2020 at 11:46 AM
Pinoy adult animation film ’Hayop Ka! The Nimfa Dimaano Story’ is coming to Netflix this October
A new Filipino adult animation comedy film is coming to Netflix this October.
“Hayop Ka! The Nimfa Dimaano Story” starring Angelica Panganiban, Sam Milby, and Robin Padilla is the first animated Netflix movie from the Philippines.
The story follows Nimfa (Angelica Panganiban), the pretty pussycat who sells perfume at a department store.
Nimfa has a boyfriend, Roger (Robin Padilla), the macho mongrel who is a janitor, but her relationship gets complicated after she meets Iñigo Villanueva (Sam Milby) the bourgeoisie business dog.
The voice cast also includes Empoy Marquez, Piolo Pascual, Arci Muñoz, Eugene Domingo, Yeng Constantino, Moira dela Torre and Bb Joyce Bernal.
“Hayop Ka! The Nimfa Dimaano Story” is directed by Avid Liongoren; written by Manny Angeles and Paulle Olivenza; and was animated and produced by Rocketsheep Studio and Spring Films.
"Hayop Ka! The Nimfa Dimaano Story” is set to premiere on Netflix this October 29, 2020.
https://www.gmanetwork.com/news/lifestyle/hobbiesandactivities/756441/pinoy-adult-animation-film-hayop-ka-the-nimfa-dimaano-story-is-coming-to-netflix-this-octo/story/
TRAILER:
https://youtu.be/7gMbbkyJwTE
Post by: jas on Sep 22, 2020 at 02:50 PM
Daang Dokyu Film Festival is organized by FilDocs (Filipino Documentary Society). It showcases the largest collection of documentaries about the Philippines and will run from September 19 to November 5, 2020.
https://www.daangdokyu.ph/index
Post by: jas on Oct 04, 2020 at 12:31 PM
If you were not able to catch the movie “Saving Sally” in theatres, here’s another chance to see it! Rocketsheep Studio confirmed that the 2016 film will be available on Netflix across Asia and possibly in Europe this October 15.
“It should be available all across Asia & quite possibly Europe as they took our French subtitles,” the company behind the ‘little film’ stated.
The live-action animated movie took ten years and several setbacks before finally landing a place in the local movie scene. In 2016, “Saving Sally” was included in the official entries of the Metro Manila Film Festival (MMFF). However, the film was not widely shown in cinemas nationwide and only had a limited viewing.
After showing in the Philippines, the film got featured all over the world and received prestigious awards from international movie film festivals. “Saving Sally” was shown in Japan, South Korea, Los Angeles, New York, Portugal, and Italy among others.
https://freebiemnl.com/2020/10/saving-sally-will-be-available-on-netflix-this-month/
Post by: Klaus Weasley on Oct 25, 2020 at 12:56 AM
Post by: Noel_Vera on Oct 30, 2020 at 12:10 AM
Thoughts (https://criticafterdark.blogspot.com/2020/10/the-scariest-movies-ever.html) on what in my book are the scariest movies ever made
Post by: Klaus Weasley on Nov 03, 2020 at 12:06 PM
Post by: Klaus Weasley on Nov 23, 2020 at 01:11 AM
Post by: Klaus Weasley on Nov 30, 2020 at 10:27 AM
Post by: jas on Nov 30, 2020 at 10:36 AM
Babae at Baril (The Woman and The Gun) (Rae Red) ***1/2 - After being sexually assaulted, a mild-mannered young woman finds a gun and starts standing up for herself. But that's only about half the film, the other half goes into a wildly different direction that's both thrilling and something I wasn't expecting. It stuck the landing with the ending too. It features great performances from its ensemble headed by Janine Gutierrez. This is from Rae Red from the talented filmmaking Red family which also includes Mikhail Red and Raymond Red. This is yet another example of a talented filmmaker from that family. It's one of the best Filipino films of 2019. I'm glad I caught up with it.
This won big at the Gawad Urian 2020 awards....
Best Film
Best Director (Rae Red)
Best Actress (Janine Guiterrez)
Best Cinematography (Tey Clamor)
Best Editing (Ilsa Malsi)
Best Production Design (Eero Francisco)
Where can you catch this? Is it streaming anywhere?
Post by: Klaus Weasley on Nov 30, 2020 at 11:46 AM
Where can you catch this? Is it streaming anywhere?
QCinema. It's streaming for PhP 150 in GMovies.ph (along with a dozen other titles). Hurry, I think it's only available for a few more days!
Post by: Klaus Weasley on Nov 30, 2020 at 11:46 PM
Post by: jas on Dec 01, 2020 at 07:44 AM
QCinema. It's streaming for PhP 150 in GMovies.ph (along with a dozen other titles). Hurry, I think it's only available for a few more days!
Watched it last night. Thanks for this information.
Babae at Baril - It starts out in the typical movie formula of a girl being raped, finding a gun and then going vigilante-style after her assaulter and other male harassers. And then this part ends in a creative segue (nicely edited to the beat of the Asin song, "Magnanakaw"), turning the film around, swerving it to different angles before returning it full circle. It becomes something surprisingly unexpected. I thought this will be a stylistically shot revenge-thriller, but ultimately it is not. To say more might spoil some of it's goodness, so suffice it to say that writer-director Rae Red provides a very feminist and female-centric view point of some the country's patriarchal realities and issues. It's a filmic breath of fresh air that is very much needed.
Post by: Noel_Vera on Dec 04, 2020 at 12:03 AM
Reading what I wrote some twenty plus years ago I sound clumsy, ignorant, naive...but I do think my choice for best and second-best of 1998 are still spot on
The Best of 1998 (https://criticafterdark.blogspot.com/2020/12/best-of-1998.html)
Post by: Klaus Weasley on Dec 05, 2020 at 10:51 AM
Post by: Arulco on Dec 05, 2020 at 04:25 PM
Post by: Noel_Vera on Dec 15, 2020 at 08:22 PM
Dayao is a vital filmmaking voice and one of Philippine cinema's best genre filmmakers.
aka X44
Post by: anya618 on Dec 18, 2020 at 08:53 PM
abs-cbn star cinema full movies / youtube super stream
https://www.youtube.com/playlist?list=PLalQNACgOUSexat_rVzqFdZkshVxbL4WO
1. ang tanging ina nyong lahat
2. girl, boy. bakla, tomboy
3. dubai
4. sakal, sakali, saklolo
5. ang tanging ina mo: last na to
6. forevermore
7. call center girl
8. pagpag: siyam na buhay
9. four sisters and a wedding
10. etiquette for mistresses
11. kasal, kasali, kasalo
12. first day high
13. ang tanging ina
14. supahpapalicious
15. kung ako na lang sana
16. bata, bata..pano ka ginawa
17. every breath u take
18. loving in tandem
19. anak
20. all you need is pag-ibig
21. padre de pamilya
22. agawan base
Post by: jas on Dec 21, 2020 at 10:20 AM
Best Production Design: Eero Yves Francisco (Babae at Baril)
Best Screenplay: Glenn Barit (Cleaners)
Best Cinematography: Alyx Arumpac and Tanya Haurylchyk (Aswang) and Tey Clamor (Babae at Baril)
Best Scoring: Immanuel Verona (Babae at Baril)
Best Sound: Jet Leyco and Brian Gonzales (For My Alien Friend)
Best Editing: Fatima Bianchi and Anne Fabini (Aswang)
Best Short Film: Tokwifi (Carla Ocampo)
Best Documentary: Aswang (Alyx Arumpac)
Best Supporting Actress: Dolly De Leon (Verdict)
Best Supporting Actor: Ricky Davao (Fuccbois)
Best Actor: Elijah Canlas (Kalel, 15) and Kristoffer King (Verdict)
Best Actress: Janine Gutierrez (Babae at Baril)
Best Achievement in Direction: Raymund Ribay Gutierrez (Verdict)
Best Picture: Aswang
Post by: jas on Dec 30, 2020 at 08:28 AM
Mondo Macabro has revealed that it is preparing a Blu-ray release of Elwood Perez's film Silip: Daughters of Eve (1985), starring Sarsi Emmanuelle, Maria Isabel Lopez, and Myra Manibog. The release is expected to arrive on the market early next year.
Synopsis: In the remote countryside of Ilongo, various women are sexually abused by local men. Two sisters meet Simon, the most attractive man in the village, and fight over him--one constantly haunted by Catholic dogma because of the abuse she suffered previously.
https://www.blu-ray.com/news/?id=27921
Post by: jas on Jan 02, 2021 at 09:26 AM
Post by: Noel_Vera on Mar 04, 2021 at 11:02 PM
Thoughts (http://) on Lamberto Avellana's classic adaptation of Nick Joaquin's Portrait of the Artist as Filipino
Post by: Noel_Vera on Mar 07, 2021 at 03:33 PM
Best of 1999 (https://criticafterdark.blogspot.com/2021/02/best-filipino-films-of-1999.html)
Post by: hennry sy on Mar 07, 2021 at 03:48 PM
Post by: Noel_Vera on Mar 12, 2021 at 10:39 PM
Films on films: Federico Fellini's 8 1/2, Mario O'Hara's Bubungang Lata (https://criticafterdark.blogspot.com/2021/03/federico-fellinis-8-12-1963-mario.html)
Post by: Noel_Vera on Mar 19, 2021 at 12:26 PM
The in my book Best Films of the Year 2000 (https://criticafterdark.blogspot.com/2021/03/best-films-2000.html)
Post by: Noel_Vera on May 23, 2021 at 01:11 PM
For Nora Aunor's birthday, ABS CBN is streaming for free on their Facebook web page (https://www.facebook.com/filmrestorationabscbn/) their restored copy (with English subtitles) of Mario O'Hara's wartime drama Tatlong Taong Walang Diyos (Three Years Without God), on Tuesday May 25, 7.30 PM Manila Time (7.30 AM Eastern).
My thoughts on the film (https://criticafterdark.blogspot.com/2007/02/tatlong-taong-walang-diyos-three-years.html)
Post by: Noel_Vera on May 23, 2021 at 09:46 PM
Tuesday, May 25; 7:30 PM GMT+8 (7:30 AM ET); streaming free (https://www.facebook.com/filmrestorationabscbn) with English subtitles.
My further thoughts (https://criticafterdark.blogspot.com/2016/11/tatlong-taong-walang-diyos-three-years.html) on the film (for the 2016 restoration)
Post by: DaSilva on Jun 01, 2021 at 09:26 AM
Post by: Columbia on Jun 01, 2021 at 09:36 AM
Heck, I even memorized their names. Sent from my Nokia 5210
Post by: halvert on Jun 06, 2021 at 06:02 PM
Post by: Noel_Vera on Jun 06, 2021 at 08:06 PM
I missed this. Any chance of it streaming again soon? Thanks.
It's available on Amazon Prime, and iTunes
Post by: Noel_Vera on Jun 06, 2021 at 08:09 PM
Saw Babae at Baril on Netflix.
I liked it.
Post by: Noel_Vera on Jun 11, 2021 at 12:30 AM
All the film I saw in 2002! Where did I find the time? Where did I find the energy? Where did I find all the 35 mm prints? Best of 2002 (https://criticafterdark.blogspot.com/2021/06/the-good-of-2002-one-of-my-new-years.html)
Post by: Noel_Vera on Jul 26, 2021 at 05:44 PM
Didn't realize I haven't posted this--thoughts on Marilou Diaz Abaya's Moral (https://criticafterdark.blogspot.com/2021/06/moral-marilou-diaz-abaya-1982.html)
Post by: Noel_Vera on Aug 26, 2021 at 11:37 AM
My thoughts (https://criticafterdark.blogspot.com/2021/08/cinemalaya-2021.html) on the Cinemalaya 2021 shorts, still streaming on KTX.PH (http://ktx.ph)
Post by: Noel_Vera on Sep 07, 2021 at 05:21 PM
Best of 2001 (https://criticafterdark.blogspot.com/2021/09/best-of-2001.html)
Post by: Noel_Vera on Oct 07, 2021 at 12:58 PM
Thoughts on Gerardo de Leon's 1954 folk classic Pedro Penduko (https://criticafterdark.blogspot.com/2021/10/pedro-penduko-gerardo-de-leon-1954.html)
Now available for streaming at a certain Facebook page. Also, the print should be available, so this can be screened once in a while.
Post by: jas on Oct 16, 2021 at 12:34 PM
Another Filipino film has been recognized internationally as the HBO Asia Original film “Gensan Punch” copped the Kim Jiseok Award at the prestigious 26th Busan International Film Festival on Friday.
The Filipino-Japanese film produced and directed by award-winning director Brillante Mendoza beat other nominated films from Azerbaijan, Bangladesh, China, India, Japan, Philippines, and Singapore for the highly-coveted award.
The Kim Jiseok Award is given to the most attractive film that reflects the contemporary standing of Asian cinema.
The movie, inspired by the true story of Naozumi Tsuchiyama, is about a Japanese man with a prosthetic leg who goes to the Philippines to train and pursue his dream of becoming a professional boxer.
It also opens the issue of discrimination towards the disabled, especially in competitive sports such as boxing.
In English, Japanese and Tagalog, “Gensan Punch” was filmed in both the Philippines and Japan. It stars a mix cast of Filipino and Japanese actors bannered by Shogen, Ronnie Lazaro, Kaho Minami, Beauty Gonzales, and Vince Rillon.
https://news.abs-cbn.com/entertainment/10/15/21/gensan-punch-wins-kim-jiseok-award-in-busan-film-fest
Post by: jas on Oct 16, 2021 at 12:45 PM
(https://i.imgur.com/haKq6xn.jpg)
TEASER TRAILER 1:
https://youtu.be/ChVACWAz99M
TEASER TRAILER 2:
https://youtu.be/xxi8AMCvWM8
Post by: jas on Nov 09, 2021 at 08:16 AM
(https://i.imgur.com/0pXrf5S.jpg)
ARISAKA
Directed by Mikhail Red
Written by Anton Santamaria
Starring Maja Salvador, Mon Confiado, Art Acuña, Shella Mae Romulado
Mixing a chase thriller with social commentary, Arisaka stars Maja Salvador as a resourceful policewoman who must stay alive after a prized witness is gunned down in an ambush, leaving her as the only survivor of the assassination.
TEASER:
https://youtu.be/CED5KQ0w0pI
TRAILER:
https://youtu.be/29_DR0aAk0o
Tokyo Competition Film, Mikhail Red’s ‘Arisaka’ Takes Aim at The Philippines’ New Generation of Oppressor
https://variety.com/2021/film/asia/mikhail-reds-arisaka-takes-aim-1235106808/
Post by: anya618 on Nov 09, 2021 at 08:24 AM
https://www.youtube.com/c/RegalEntertainmentInc/search?query=shake%20rattle%20and%20roll
Post by: jas on Nov 26, 2021 at 03:46 PM
Here is a review:
https://www.blu-ray.com/movies/Death-of-Nintendo-Blu-ray/302494/#Review
Post by: jas on Dec 11, 2021 at 08:47 AM
Post by: jas on Feb 02, 2022 at 10:39 AM
https://vinegarsyndrome.com/collections/frontpage-partner-labels/products/cain-and-abel-kani
Post by: Klaus Weasley on Feb 14, 2022 at 11:57 PM
Post by: jas on Mar 17, 2022 at 10:10 AM
The film, based on true events, tells the story of a political prisoner under dictator Ferdinand Marcos’ Martial Law
Kip Oebanda’s Liway will be available to stream on the filmmaker’s YouTube channel starting Friday, March 18.
The film was written and directed by Kip based on his own childhood. It tells the story of a young boy named Dakip who grew up in a prison camp with his mother, anti-Marcos dissident Cecilia Flores-Oebanda, also known as Commander Liway.
Liway first premiered in August 2018, as part of that year’s Cinemalaya Independent Film Festival, where it later went on to win the special jury award and the audience choice award in the full-length feature film category.
Kip said that the film will be available for viewing ad-free until April.
https://www.rappler.com/entertainment/movies/kip-oebanda-liway-stream-free-youtube/
Post by: jas on Mar 18, 2022 at 10:02 AM
https://youtu.be/jVzF8xqctco
Post by: Noel_Vera on May 30, 2022 at 03:20 PM
Available streaming on Vivamax: thoughts on Tikoy Aguiluz's erotic noir Biyaheng Langit (https://criticafterdark.blogspot.com/2022/05/biyaheng-langit-paradise-express-tikoy.html) (Paradise Express)
Post by: Klaus Weasley on Aug 06, 2022 at 11:44 PM
Post by: jas on Aug 07, 2022 at 07:50 AM
Post by: oweidah on Aug 10, 2022 at 11:48 AM
Post by: Noel_Vera on Aug 30, 2022 at 12:26 PM
Thoughts on Lav Diaz's A Tale of Filipino Violence (2022)
Post by: Dan on Sep 03, 2022 at 04:47 PM
Katips (Vince Tanada) *** - This is a dramatic musical about a group of student activists during the Martial Law era. Released as counter-programming to a certain propaganda film disguised as historical drama, this isn't exactly a masterpiece either. It's way too long, there are weird directing and editing choices, some of the acting is mediocre, it delivers its message with the subtlety of a sledgehammer and the script could have used another pass or two. Too bad, because there's actually a great film there. However, when it's good, it's REALLY good. When it hits the right notes, it really hits. A lot of the songs are genuinely good. This is a film with a lot of good intentions and I agree with its message. It could have been a lot better but considering the current political situation here in the Philippines, we need more films like this now more than ever.
I'm surprised you gave it 3 stars(?). But I do agree with your last sentence.
This would have been best performed and filmed onstage; more Les Miserable 25th anniv concert and less Les Miserable 2012 film. I still would recommend people watch it given the fact I myself don't know how to release a movie -- and these well-meaning folk were able to. I will support anything that tells shamalanarcos to screw himself a new pee hole.
I recommend watching several other (much better made) films and docus about this family of thieves and murderers after. There's an orgy of lists out there for follow-up viewing.
Post by: Klaus Weasley on Sep 09, 2022 at 11:18 PM
Post by: jas on Sep 19, 2022 at 10:43 AM
Martial Law Film Festival
Inihahandog ng Matanglawin Ateneo, ang Opisyal na Pahayagang Pangmag-aaral ng Pamantasang Ateneo de Manila, ang “Martial Law Film Festival”, isang serye ng film screening bilang paggunita sa ika-50 na anibersaryo ng pagdeklara ng Batas Militar sa bansa, para sa darating na Martial Law Week, kasama ang Ateneo Assembly, Ateneo Martial Law Museum, Loyola Film Circle, at Altermidya.
Simula ika-19 hanggang ika-23 ng Setyembre, itatampok sa Film Festival ang ilang mga pelikulang nagbabahagi ng mga karanasang mahalagang pakatandaan mula sa panahon ng Batas Militar, tulad ng Dekada ‘70, Batas Militar, Sister Stella L, at Liway.
https://www.ateneo.edu/events/2022/09/19/studentactivities-ls/martial-law-film-festival
Post by: Noel_Vera on Sep 19, 2022 at 10:50 PM
Thoughts (https://criticafterdark.blogspot.com/2022/09/kung-wala-nang-mga-alon-when-waves-are.html) on Lav Diaz's latest, his Venice Film Festival entry Kung Wala Nang Mga Alon
Post by: Noel_Vera on Dec 04, 2022 at 02:30 PM
Yesterday was Sight and Sound's 2022 Greatest Films Ever Made list.
My turn (https://criticafterdark.blogspot.com/2022/12/sight-and-sounds-greatest-films-of-all.html).
Post by: Klaus Weasley on Dec 22, 2022 at 10:56 AM
Post by: jas on Feb 04, 2023 at 09:30 AM
Music Box Films is preparing a Blu-ray release of Martika Ramirez Escobar's Leonor Will Never Die (2022), starring Sheila Francisco, Bong Cabrera, and Rocky Salumbides. The release is scheduled to arrive on the market on March 14, 2023.
Label description:
Leonor Reyes was once a groundbreaking figure in the Filipino film industry during its ragtag action cinema glory days, but now she struggles with old age, mounting bills, and the untimely death of her son. While revisiting an unfinished script about a fearless protagonist trying to avenge his brother's murder, Leonor is struck on the head by a falling television set and knocked into a coma. As she lies unconscious in the hospital, fantasy and reality begin to blur when Leonor finds herself awake inside her script, becoming the hero of her own story. An innovative blend of pulpy action homages, playful comedy, and touching family drama, Leonor Will Never Die is a wonderfully imaginative tribute to the art of filmmaking.
https://www.blu-ray.com/news/?id=32086
Post by: Klaus Weasley on Feb 13, 2023 at 12:10 AM
Post by: jas on Feb 16, 2023 at 07:40 AM
(https://i.imgur.com/3NcCvjJ.jpg)
IN MY MOTHER’S SKIN
Written and Directed by Kenneth Dagatan
Starring Beauty Gonzalez, Felicity Kyle Napuli, James Mavie Estrella, Angeli Bayani, Ronnie Lazaro, Arnold Reyes, Noel Sto. Domingo and Jasmine Curtis-Smith
SYNOPSIS:
Philippines, 1945. Nearing the end of World War II, an affluent family lives stranded in their country mansion, tormented by the occupying Japanese soldiers who are losing grip over the island nation. Rumors spread that the patriarch, Aldo, stole Japanese gold and stashed it somewhere nearby. Aldo knows that his family will be slaughtered if they find the riches, so he escapes to seek help from the Americans. Soon they fear he will never return while sickness overtakes the mother. Searching for help, their young daughter, Tala, mistakenly places her trust in a beguiling, flesh-eating fairy, who desires to consume them all.
Post by: Klaus Weasley on Feb 19, 2023 at 12:03 AM
Post by: Noel_Vera on Mar 16, 2023 at 12:32 PM
Rico Ilarde's action horror Beneath the Cogon now on Amazon. Thoughts (https://criticafterdark.blogspot.com/2023/03/beneath-cogon-sa-ilalim-ng-cogon-rico.html)on the film and other Filipino horrors.
Post by: jas on Mar 20, 2023 at 02:10 PM
Post by: Noel_Vera on Mar 21, 2023 at 02:56 PM
Violator (https://www.amazon.com/Violator-Joel-Lamangan/dp/B09M245XSF)is streaming on Amazon.
Thoughts (https://criticafterdark.blogspot.com/2015/11/violator-eduardo-dayao.html)on the film.
Post by: Disharmony on Mar 22, 2023 at 09:30 PM
Post by: Noel_Vera on Mar 23, 2023 at 01:02 PM
Post by: Noel_Vera on Mar 24, 2023 at 04:04 PM
Martika Ramirez Escobar's feature does many of the things Everything Everywhere All at Once does but at a fraction of the budget -- now streaming on Amazon
Thoughts on the film (https://criticafterdark.blogspot.com/2023/03/leonor-will-never-die-martika-ramirez.html)
Post by: Noel_Vera on Apr 06, 2023 at 12:31 PM
Mike de Leon retrospective (https://asianfilmarchive.org/event-calendar/retrospective-mike-de-leon/) in Singapore, March 24 to April 28
Some films to be featured:
Kisapmata (https://criticafterdark.blogspot.com/2020/03/kisapmata-mike-de-leon.html)
Batch 81 (https://criticafterdark.blogspot.com/2014/09/batch-81-mike-de-leon-1982-tribute-to.html)
Itim (https://criticafterdark.blogspot.com/2022/11/itim-rites-of-may-mike-de-leon-1976.html)
Sister Stella L (https://criticafterdark.blogspot.com/2009/03/mike-de-leons.html)
Kakabakaba Ka Ba? (https://criticafterdark.blogspot.com/2008/05/kakabakaba-ka-ba-does-your-heart-beat.html)
Bayaning Third World (https://criticafterdark.blogspot.com/2011/06/bayaning-third-world-third-world-hero.html)
Kung Mangarap Ka't Magising (https://criticafterdark.blogspot.com/2017/08/kung-mangarap-kat-magising-moments-in.html)
Hindi Nahahati Ang Langit (https://criticafterdark.blogspot.com/2014/11/hindi-nahahati-ang-langit-heavens.html)
Plus a selection of classics
Anak Dalita (https://criticafterdark.blogspot.com/2019/05/anak-dalita-child-of-sorrow-lamberto.html)
Huk sa Bagong Pamumuhay (https://criticafterdark.blogspot.com/2019/04/huk-sa-bagong-pamumuhay-huk-in-new-life.html)
Biyaya ng Lupa (https://criticafterdark.blogspot.com/2019/11/biyaya-ng-lupa-blessings-of-land-manuel.html)
Pag-asa (https://criticafterdark.blogspot.com/2019/06/pag-asa-hope-lamberto-avellana-1951.html)-- Mike de Leon's personal favorite
Post by: Klaus Weasley on Apr 09, 2023 at 12:16 AM
Apag (Feast) (Brillante Mendoza) **1/2 - A young man accidentally crashes into a tricycle, resulting in the death of another man. His father who was in the truck with him takes the fall. This is from director Brillante Mendoza who hasn't made a great one in a while and that continues to this day. There are lots of directions he could've gone with this: a tale of forgiveness and a celebration of our common humanity, a commentary on the justice system and an eat-the-rich revenge tale and Mendoza pretty much did all of them and not in a particularly satisfying way. It is too bad because he reunites with a lot of his staple actors here (including Coco Martin and Jacqueline Jose) and there are flashes of What Could Have Been. But this film falls short.
Post by: Klaus Weasley on Apr 10, 2023 at 11:15 AM
Post by: jas on Apr 11, 2023 at 09:01 AM
Revolutionary filmmaker Kidlat Tahimik outdid himself once again by finally completing a 45-year-old work of art.
He started shooting half of the film in 1978 using a 60-mm acetate film, which accumulated in large amounts at that time, and went on to shoot the remaining parts over time in various formats. From acetate, the movie went on to employ the video format until technology brought filmmaking into the digital age.
Titled "Balikbayan #1: Memories of Overdevelopment Redux VII," the revered filmmaker, along with his bamboo cinema, presents an aural and video tapestry of his alternative post-colonialist version of Ferdinand Magellan's expedition that led to the first recorded circumnavigation of the Earth.
Inspired by Antonio Pigafetta's journals, "Balikbayan #1" follows the exploits of Magellan's slave, Enrique de Malacca, as he sails with the Portuguese sailor and eventually completes a roundabout journey from his point of origin in Spain to the island of Mactan in Cebu.
Redux I of "Balikbayan #1" premiered in 2015. Redux VII contains scenes from the global COVID-19 pandemic as well as recent photography that was used in the last frames of the film. The latter is said to screen this year at an international film festival.
After his 1977 obra "Perfumed Nightmare," his opus "Balikbayan #1" will go down the annals of film history as the film that took almost half a century to complete!
The over two-hour drama stars Mitos Benitez, Jeff Cohen, Kabunyan de Guia, Katrin de Guia, Kawayan de Guia, Marita Manzanillo, Danny Orquico, Craig Scharlin, George Steinberg, Wig Tysmans and Marlies von Brevern.
https://www.philstar.com/lifestyle/arts-and-culture/2023/04/10/2257628/national-artist-kidlat-tahimik-finally-finishes-film-after-45-years
Post by: Klaus Weasley on Apr 16, 2023 at 12:01 AM
About Us But Not About Us (Jun Robles Lana) ***1/2 - A 40 year old gay college professor meets up with his 20 year old student for lunch. As they converse, long-held secrets are revealed. This film was able to pull off sort of a magic trick. It makes you think it is one thing but it turns out to be whole other thing together (to go into detail would be spoiling so I'll leave my description at that). Despite the fact it is basically a two-hander where it's comprised almost entirely of two people talking, it really takes you for a twisty, dark ride. The two actors, Romnick Sarmenta and Elijah Canlas are both remarkable. If you watch one film from the Summer MMFF, this is the one.
Post by: Klaus Weasley on May 01, 2023 at 10:41 AM
Post by: halvert on May 01, 2023 at 10:57 AM
Side note: i once went to greenbelt to catch a screening of Pagdating sa Dulo but they were still showing a matt ranillo and vilma santos film which kept stopping/ snagging on the projector. I loudly complained we should just stop the film and a guy in front of me stared at me. Turns out, it was matt ranillo himself! When they tried to run it again, the film burst into flames! A white guy commented we should stop because we’re destroying the film. I agreed and that’s when they finally relented.
Post by: Noel_Vera on May 02, 2023 at 01:27 PM
Thoughts on one of the best films of 2005, Dennis Marasigan's Sa North Diversion Road (https://criticafterdark.blogspot.com/2023/04/sa-north-diversion-road-on-north.html)
Post by: Noel_Vera on May 02, 2023 at 01:28 PM
Post by: Klaus Weasley on Jun 05, 2023 at 01:03 AM
Post by: Klaus Weasley on Jun 13, 2023 at 12:52 AM
Post by: Klaus Weasley on Aug 21, 2023 at 12:06 AM
Third World Romance (Dwein Balthazar) ***1/2 - A young man who works as a bagger at a grocery store meets a young woman whom he gets a job as a cashier in the same store. They begin a romance. This is quite probably the best Filipino romantic comedy since That Thing Called Tadhana. Even though the film pretty much follows the familiar narrative beats of your typical romantic comedy, it does so effectively and efficiently. The realism of the two protagonists' hardships in life play a role in this. It somehow both undercuts any potential eye-rolling sappy-ness and enhances the magic and the comedy of the romance. This is thanks to the great direction, intelligent script and great performance of the two leads, Carlo Aquino and Charlie Dizon who have genuine romantic chemistry. This turned out to be one of my favorite Filipino films of the year.
Post by: thebat on Aug 22, 2023 at 12:33 PM
Post by: Klaus Weasley on Aug 22, 2023 at 01:21 PM
^ nasa Netflix ba yan?
Not yet. It's currently in theaters.
Post by: jas on Oct 01, 2023 at 02:45 PM
After the success of horror film “Deleter,” actor Nadine Lustre and filmmaker Mikhail Red have teamed again on genre film “Nokturno.”
“Nokturno” revolves around a curse brought on by Filipino folklore characters known as Kumakatok, who are tall, thin and have long, pale fingers. They wear veils that obscure their faces and come knocking in the dead of the night. Those who answer the door are cursed to die or lose a loved one in three days.
Lustre plays Jamie, an overseas Filipina worker who returns to her isolated home province when rumors of mysterious killings brought about by a primal curse begin to circulate. She must reunite with her estranged mother Lilet, played by Eula Valdez (the lead in Red’s 2018 Rotterdam title “Neomanila”), and face her family’s troubled past in order to survive the curse of the Kumakatok.
The cast also includes Bea Binene, Wilbert Ross, J.J. Quilantang and Ku Aquino with whom Red worked on “Birdshot” (2016) and Netflix’s “Dead Kids” (2019).
“Nokturno” is written by Mikhail Red, his cousin Rae Red, who co-wrote “Birdshot” and “Eerie,” and co-written by Nikolas Red, Mikhail’s brother and editor.
https://variety.com/2023/film/asia/nadine-lustre-mikhail-red-filipino-folklore-horror-nokturno-teaser-1235741093/
TEASER TRAILER
https://youtu.be/pADkg1mAhMA?si=6YJPaL3pNCw7WrwN
Post by: Noel_Vera on Oct 05, 2023 at 12:20 PM
The further adventures of Lt. Hermes Papauran, in Lav Diaz's Essential Truths of the Lake (https://criticafterdark.blogspot.com/2023/09/essential-truths-of-lake-lav-diaz-2023.html) (2023)
Post by: Klaus Weasley on Oct 14, 2023 at 12:13 AM
In My Mother's Skin (Kenneth Dagatan) ***1/2 - It's the tail end of World War II in the Philippines. While her father is away fighting with the Americans, a young girl's mother gets sick and she makes a deal with a flesh-eating fairy to keep her alive. A deal she will soon regret. It is Friday the 13th and it's spooky month. I'd be remiss if I didn't see a horror movie today. I have to say, it's quite obvious that writer-director Kenneth Dagatan is a fan of Guillermo del Toro's Pan's Labyrinth since there are visual references of that film here but this is kind of a darker tale (if you can believe it) and some people may not be satisfied by the ending. But this is stil a very well crafted horror film which has some good acting and some decent scares/creepy moments. There's lots to admire here. This is my fifth #13HalloweenFilms entry.
Post by: Klaus Weasley on Oct 29, 2023 at 07:55 AM
Post by: anya618 on Nov 12, 2023 at 08:57 PM
https://inqm.news/chow
Quote
Cinephiles will be treated to gems like LVN’s “Giliw Ko” (1939), “Sa Init ng Apoy” (1980), “Captain Barbell” (1973), “Tisoy!” (1977) , “Patayin sa Sindak si Barbara” (1995), and “Omeng Satanasia” (1977).
The highlight of the weekend event is the scanned and digitally enhanced “Ibong Adarna” film that was released back in 1941 by LVN Pictures, Inc.
Post by: Klaus Weasley on Nov 23, 2023 at 12:28 AM
National Anarchist: Lino Brocka (Khavn de la Cruz) ***1/2 - This is an experimental documentary of director Lino Brocka which is basically an intercutting of quotes from the late director as well as artfully cut montage of clips from all of his (existing) films. I was very much looking forward to this film but I suspected going in that this is not going to be your run of the mill documentary on a famous filmmaker since it's by Khavn, one of Philippine cinema's foremost independent and unique voices. It kind of helps to have a familiarity with Lino Brocka's life and career to fully appreciate the history and the politics behind it although watching it may entice newcomers to finally seek out all his works. It can be a bit of a trial to sit through but you can tell there's a lot of love that was poured into it especially in the end.
Post by: Noel_Vera on Mar 19, 2024 at 03:48 PM
Thoughts on a lesser known Mario O'Hara-Nora Aunor collaboration: the 1981 action-musical Gaano Kita Kamahal (How I Love You) (https://criticafterdark.blogspot.com/2024/03/gaano-kita-kamahal-mario-ohara-1981.html)