Author Topic: Filipino films (Read 500311 times)

oggsmoggs · « **Reply #1830 on:** Dec 24, 2007 at 10:21 PM »

Shake, Rattle & Roll 9 (Paul Daza, Mike Tuviera & Topel Lee, 2007)

oggsmoggs · « **Reply #1831 on:** Dec 27, 2007 at 03:06 PM »

Resiklo (Recycle, Mark Reyes, 2007)

keating · « **Reply #1832 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.

RMN · « **Reply #1833 on:** Jan 03, 2008 at 02:12 PM »

Looking for:

Sa Piling ng mga Sugapa by Gil Portes

keating · « **Reply #1834 on:** Jan 05, 2008 at 10:11 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

deweyfinn · « **Reply #1835 on:** Jan 06, 2008 at 11:34 AM »

Quote from: keating on Jan 05, 2008 at 10:11 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

sosy_high · « **Reply #1836 on:** Jan 06, 2008 at 07:39 PM »

Just seen Himala again...maganda talaga yung movie

complaint ko lang sa DVD: Bat mas malinaw yung TRAILER kesa sa FEATURE FILM?

STrange

oggsmoggs · « **Reply #1837 on:** Jan 08, 2008 at 06:22 PM »

Banal (Holy, Cesar Apolinario, 2008)

keating · « **Reply #1838 on:** Jan 17, 2008 at 06:42 PM »

Jose Javier Reyes tribute to the camp master, Joey Gosiengfiao.

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.

Noel_Vera · « **Reply #1839 on:** Jan 18, 2008 at 04:58 PM »

Best of 2007 updated; Filipino films on DVD updated

Little Black Book of Movies 3

thegoodbyeguy · « **Reply #1840 on:** Jan 25, 2008 at 03:45 PM »

Quote from: 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

You made me laugh with your comment!

telonistas · « **Reply #1841 on:** Jan 26, 2008 at 10:55 AM »

UP Film Institute showcases the new Cinema One Originals movies

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

sosy_high · « **Reply #1842 on:** Jan 26, 2008 at 11:51 AM »

Quote from: thegoodbyeguy on Jan 25, 2008 at 03:45 PM

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!

thegoodbyeguy · « **Reply #1843 on:** Jan 26, 2008 at 07:44 PM »

Quote from: sosy_high on Jan 26, 2008 at 11:51 AM

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.

pinoymovies · « **Reply #1844 on:** Jan 27, 2008 at 08:32 AM »

Sa tingin mo mas malinaw ang trailer kasi bagong gawa ang trailer. It used the scenes from the movie but the graphics/texts connecting the scenes are new. They didn't even used the original font for the title Himala. Hindi ito ang original na trailer. Here's a link to the trailer as posted on youtube:

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.

jdv1229 · « **Reply #1845 on:** Jan 28, 2008 at 12:29 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.

X44 · « **Reply #1846 on:** Jan 28, 2008 at 10:57 AM »

Quote from: Jojo Devera on Jan 28, 2008 at 12:29 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.

oggsmoggs · « **Reply #1847 on:** Jan 29, 2008 at 04:05 PM »

Keka (Quark Henares, 2003)

indie boi · « **Reply #1848 on:** Jan 29, 2008 at 05:07 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.

keating · « **Reply #1849 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.

jdv1229 · « **Reply #1850 on:** Jan 29, 2008 at 07:32 PM »

Quote from: indie boi on Jan 29, 2008 at 05:07 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...

indie boi · « **Reply #1851 on:** Jan 29, 2008 at 07:47 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?

jdv1229 · « **Reply #1852 on:** Jan 29, 2008 at 08:03 PM »

Quote from: indie boi on Jan 29, 2008 at 07:47 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...

Noel_Vera · « **Reply #1853 on:** Jan 30, 2008 at 03:57 AM »

Quote from: indie boi on Jan 29, 2008 at 05:07 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.

A Beautiful Mind / Mortal

john m. · « **Reply #1854 on:** Jan 30, 2008 at 03:37 PM »

PAKI REVIEW NAMAN PO..."ANG ISINILANG KO BAY KASALAN? "...THANK YOU

indie boi · « **Reply #1855 on:** Jan 30, 2008 at 05:29 PM »

Thanks for the link, Noel. Very insightful, as always. I agree that Mortal was an exercise in form, which O'Hara accomplished quite successfully. It really took a lot of guts for him to give practically the first half of the movie almost no structure at all but an almost dizzying and terrifying flurry of images.

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.

Noel_Vera · « **Reply #1856 on:** Jan 31, 2008 at 09:42 AM »

'Cuz it was done by Cine Manila, Brocka's production company, fresh from the success of Tinimbang. And because Tinimbang was a success, they Could Do No Wrong.

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...

indie boi · « **Reply #1857 on:** Jan 31, 2008 at 09:59 AM »

Aha! Intrigue. Hope you can share it.

What other films were made by Cine Manila? Between Ina Ka... and Mortal I'm guessing they made really good movies. Of course, you've already mentioned Tatlo... I hope these Cine Manila films get a DVD release. I want Mortal in my collection!

indie boi · « **Reply #1858 on:** Jan 31, 2008 at 08:56 PM »

I've been getting lucky with the afternoon Cinema One schedule. After Ina Ka... and Mortal, I finally got to see Stardoom this afternoon. Great film with really strong ensemble performances. My childhood memories of Lotis Key basically revolved around the comedies that she did. Thus, this was a revelation, the girl can act. Tita Munoz was wickedly good in her few scenes. Again, Lolita Rodriguez was at her usual A game. Same goes for Eddie Garcia. I've rarely seen Mario O'Hara in a role this long (only got to watch bits and pieces of Tubog sa Ginto), so seeing him act was a treat. Such a strong, nuanced actor. I wonder why he didn't act as much in movies and merely concentrated on theater during the 80's and 90's?

hopefully, I'll get to finally catch Asedillo one of these afternoons.

Noel_Vera · « **Reply #1859 on:** Feb 01, 2008 at 02:18 PM »

Because he's a creature of theater and radio first and foremost. Film acting and filmmaking is something he just takes up when he has a chance. Go figure.

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.