PinoyDVD: The Pinoy Digital Video & Devices Community
Entertainment => Film & TV Talk => Pinoy Entertainment => Topic started by: llanesmark777 on Dec 12, 2004 at 05:25 PM
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There are some Pinoy movies that always seen on cable and TV stations that we wanted to post a view or comment on the film. but sometimes we can't post because of lost of topic or thread. Please kindly post your views here. Before the Filipino film dies.
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On Cinema One, Olive Lamasan's Milan.
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For about last 3 weeks ago I just watched Ganito Kami Noon, Paano kayo Ngayon. I viewed this for the Second time around. A great classic comedy of the 70's in a old Spanish era setting.
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joseph estrada's's asiong salonga...
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Last midnight at Cinema One, Peque Gallaga's ORO PLATA MATA back to back with VIRGIN FOREST at 3:00 a.m. I am confused with the exact running time of this epic classic (Oro). The tension and the panic before the astounding exodus scene is much longer than the first cable airing which I recorded some years back.
The additional scenes that were not on the first airing include the household helpers throwing some stuff outside on the terrace of the villa in long tracking shot, Viring inside the mansion also(Lorli Villanueva) came from the room after two household helpers emerged also and she picked up her box of jewelry before proceeding outside of the villa.
Inspite of the cable time airing 12:30 a.m., the moralists still mangled some delicate scenes from the movie particularly the harmless topless scene of Dra. Jo Russell (Mitch Valdez) with Cherie Gil in the falls by putting some foggy thing on the breasts of Maya Valdez, the operation surgery by one of the soldiers were shorten, less blood and the gory scene was taken out when Hermes (Ronnie Lazaro) killed the bald man in the falls also.
Can someone clarify the exact running time of Oro Plata Mata?
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Mga Munting Tinig
"Very raw and very pinoy culture"
(http://www.offoffoff.com/film/2003/images/smallvoices.jpg)
Directed by: Gil M. Portes
Maybe the highlight film of Gil M. Portes's carrer. Munting Tinig is very raw and pinoy culture that attracts the viewers and the critics internationally. But the film reminds me of Zhang yimou's Not One Less but in addition to Mga Munting Tinig the choir added the color to the world of the kids to save thier school from poverty. But I don't like the cinematograpy more shadows on the wall. It is very obvious where the light was setup. And I don't like the ending ugh!
rating: :) :) :) / :) :) :) :) :)
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Mga Munting Tinig
But the film reminds me of Zhang yimou's Not One Less but in addition to Mga Munting Tinig the choir added the color to the world of the kids to save thier school from poverty. But I don't like the cinematograpy more shadows on the wall. It is very obvious where the light was setup. And I don't like the ending ugh!
The way I put it at one time was: the premise of Not One Less with a Children of Heaven subplot and a Sister Act ending.
Not very Filipino, actually.
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last Thursday i finally got the chance to see Lav Diaz' 5 hour film Batang West Side. first of all the setting is quite familiar to me 'coz i used to live in the area where they shot the movie. i was going to test myself, if i'm able to sit throughout the entire film then i could say that i really love Filipino movies. to my surprise i was able to watch the film in it's entirety. from the opening scene i was already taken by the movie. it seemed to me like i was actually investigating the death of Hanzel (Yul Servo) together with Joel Torre's character. i was told that in the original script, the setting would be during the fall season. winter suited the material more. the snow added a feeling of frigidness, coldness which most of the characters in the film were, most notably Gloria Diaz & Joel Torre. i was feeling a bit restless during the first half of the movie, the endless "babad" scenes which was so evident in Lav's earlier films, "Hubad Sa Ilalaim Ng Buwan" suddenly comes to mind. during the second half of the movie i began to understand that most of the scenes that bored me during the first half was actually crucial to the film's final resolution. there were touches of brilliance throughout the movie. i loved the scene where Joel Torre finally agreed to be interviewed by the documentary filmmaker. the dream sequences were so imaginatively executed thanks to Cesar Hernando's production design. one thing that bothered me was the fact that Art Acuna didn't win the URIAN Award for Best Supporting Actor. i thought he deserved it much more than Raul Arellano. the scenes showing Joel Torre with the psychiatrist made more sense to me towards the end. despite some of the problems i had with the film, Batang West Side is still one great movie.
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The audience helps too, Jojo. When it premiered in Cinemanila we had waited a whole hour for the print to arrive (it came late from Singapore for subtitling). Then we saw the thing in its entirety. The atmosphere was electric: we knew we were looking at cinematic history. My wife, who's a confirmed Steven Seagal and Van Damme fan, sat through all five hours.
I love the scene where Joel Torre is looking through the glass at Joseph Pe (Tong), who's singing to an invisible audience; he's so into it you can almost see the audience he's singing to (he even wanders amongst the chairs the way Pilita Corales, or Armida Siguion Reyna, is wont to do). It's the kind of commited delusion that he'll instill in his followers, so when he comes up with that crackpot plan to use shabu to save the Philippines (the comic high point of the film) everyone is looking at him as if he'd just recited the Declaration of Independence.
Then there's Raul (Dindo); thought his scene outside his office with Torre was surreal and funny and not a little frightening--yep, methheads do do that sort of thing.
But yeah, Acuna was great; he was my wife's favorite. We met him at the Cinemanila awards night, and you wouldn't believe how nice he was...I was prepared to bash his head in with a champagne bottle, but after five minutes of talking to him, I put the bottle quietly down on the table... ;D
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you're absolutely right Noel! there were about 30 people during the screening, 3 walked out 2 hours into the movie. now that you've mentioned it i also loved the scene where Tong was singing "Dahil Sa Iyo" while Joel Torre watched him from outside the karaoke bar. Art Acuna and most of the supporting players were present during the screening. someone told me that the Manunuri's really loved Art's performance than that of Raul Arellano's but they got confused with the names. they wanted Gloria Diaz' lover to win whom they thought was played by Raul. to my surprise also i thought Priscilla Almeda delivered one of the best performances of her career in this movie. i was really looking forward to having a bigger audience when Batang West Side was shown here last Thursday, however i commend the ones who stayed til the end 'coz just like me they were treated to one absolutely terrific film!
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Yeah, ever since that film, I've looked at Priscilla Almeda in an entirely new light. Even in that movie that broke Armida's MTRCB's back, I thought she was terrific.
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Yeah, ever since that film, I've looked at Priscilla Almeda in an entirely new light. Even in that movie that broke Armida's MTRCB's back, I thought she was terrific.
i've seen most of Priscilla's movies even that awful Seiko film Sariwa. in Batang West Side she was simply outstanding! i was really surprised with her performance in the film, quiet, subtle which blends really well with Yul & Joel's performances.
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Was that Sariwa? I know the movie was bad, but the script by Lualhati Bautista was interesting, especially the sibling rivalry, and I thought Almeda acquitted herself well anyway (both in the drama AND porn parts;D).
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Just rented and watched Babae sa Breakwater. This was my first exposure to director O'Hara's work, and what immediately grabs is his ability to "create worlds," in RidleyScottspeak, perhaps even better than ol' Ridley has been able to do lately.
A pleasant surprise is that the second half of the film is better than the first half - unusual in my (admittedly limited) experience with Pinoy movies.
Another rarity for me is the natural acting style of the lead actors, especially Katherine Luna, who does not speak in the singsong manner that too many Pinoy actors use (am eternally curious why they do that).
Personally I don't care for the musical interludes. I realize they are purposeful, but am not a big fan of Mr. Villame's music. This makes me biased toward thinking that this device is overused.
All in all, the film is strong enough to expand my view of the world, and what more can we ask of any work of art?
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All in all, the film is strong enough to expand my view of the world, and what more can we ask of any work of art?
Coolness. ;D
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Two LVN Classics: Mutya ng Pasig and this Pag-Asa by Lambeto Avellana.
I would've preffered the former, which has, to my mind, certain but minor similarites to Itim. But the all too happy ending blew it.
Pag-Asa, though a soap opera, I found quite charming. What I like about it was its simplicity and how it harked back to less-complicated times.
Shhh.....both were screened via DVD's which Mike gives out to friends!
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Just bought a VHS copy of Peque Gallaga's Scorpio Nights.
Very frank, very realistic dialogues. Very good execution.
Iba talaga ang pelikula kapag hindi pinakialaman ng MTRCB.
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misteryo sa tuwa by abbo dela cruz, brother of uro dela cruz, who also did a disturbingly wonderful film, katayan. if anyone knows where i can get a copy of misteryo pls post.
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I bought a few Pinoy DVD's....
Armando Lao's Minsan Pa
Jeffrey Jeturian
It's an intricate, well-observed and detailed (although a bit overlong) drama.
The mere fact that I almost like Jomari Yllana in this movie says a lot. Do see this one...
Santa-Santita
Very well acted movie (except for Jericho who at times seems to be auditioning for a best actor nomination) and technically great film. Aside from that, it's pretty ordinary. Better off catching Himala on cable.
Prosti
This is one of the better Erik Matti movies (I also like his Gagamboy). It has a great ensemble cast. Even Audrey Miles is not too bad in this movie. It still very visually stunning but not as messy and showy as his other early movies.
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last Friday I was able to watch La Visa Loca at the Imaginasian Cinema here in New York. the benefit screening was for SOFIA of course i had to go and show my support for Philippine Cinema. i think La Visa is five times better than Mark Meily's first outing Crying Ladies. the movie is fast paced and to my surprise very funny. i particularly liked Robin Padilla's performance in the movie, at least here he doesn't try hard to be funny. also notable is Johnny Delgado as Robin's deaf father. i loved the "greek chorus" which is reminiscent of Woody Allen's Mighty Aphrodite. the scenes where Robin was driving his limo reminded me so much of Martin Scorsese's Taxi Driver most especially the one where the film's director (Meily) made a cameo appearance. the technical aspects were topnotch as expected of a Unitel picture. the music by Vincent de Jesus was just great! now i'm looking forward to watching Pinoy Blonde on the 16th of September...
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SALOME
Boasts of tour de force performance from Gina Alajar, the movie that put Laurice Guillen on top of Philippine Cinema. The print is presumably lost but thank God thru the kindness of Jojo one of the members here, I was able to see it for the second time. Check out the vhs also on Video 48. The cinematography, editing and the script are all top-notch.
SHAME
Crap really crap not good that you can classify as camp or cult classic. Elwood Perez should be crucified in this movie and not Robert Arevalo. Still fun to watch mainly because of the late Claudia Zobel.
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Dubai
Just seen it last week. I thought Aga Mulach catches a big fish again. But kidding aside. Two brothers sacrifices their relatioshio with a girl, just to save their relationship.
rating: :) :) :) / :) :) :) :) :)
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i saw Masahista last weekend at the Chicago Film Festival. it was a little disappointing in terms of the film's focal point. don't get me wrong it's way better than the traditional Filipino gay films such as Sibak, Burlesk King and even Macho Dancer. Dante Mendoza, the film's director showed great promise, he definitely knows what he's doing, the script should've explored deeper into Iliac's (Coco Martin) character. the film itself is unapologetic. it's not poverty that drove these young men in doing this type of job. they're in it for the quick buck. Martin for one showed a unique braveness in essaying the role. his performance was carefully guided by Mendoza. he reminded me so much of the very young Bembol Roco in Maynila Sa Mga Kuko Ng Liwanag. unfortunately Jaclyn Jose was wasted in a thankless role as Iliac's mother. the movie was shot on mini dv and blown up to 35mm. it wasn't a great transfer. the cinematography was adequate and so is the music (there was very little of it anyway.) the biggest letdown for me was the production design or was there any? Dante Mendoza was a brilliant production designer which was very evident in films like Takaw Tukso, Salamangkero and Ang Lihim Ng Kalapati to name a few. unlike his predecessors Peque Gallaga & Mel Chionglo, they still showed how important the design is in their films. hopefully in his next film, Dante Mendoza would pay attention to the look of his film and not be so overwhelmed. Masahista was a promising debut for Mendoza although it would've been better.
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Have not seen Masahista, but wonder what you say about Peque--he doesn't see production design as important in his films? If anything, I feel his films are nothing but production design, often to the detriment of the storytelling or realism. Or maybe you mean he doesn't seem to feel good and unobstrusive production design is important...
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Have not seen Masahista, but wonder what you say about Peque--he doesn't see production design as important in his films? If anything, I feel his films are nothing but production design, often to the detriment of the storytelling or realism. Or maybe you mean he doesn't seem to feel good and unobstrusive production design is important...
most of his films are just production design... i just meant that Dante Mendoza should've at least paid a little more attention to the look of his film 'coz it's an integral part of filmmaking.
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I braved the unknown streets of Manila to catch some of the digital films being shown for Cinemanila. I only caught two of in-competition digital films and I am sad to say that I was not at all impressed and I felt like my trip to Manila was not worth it.
The first film I saw was the acclaimed (rated A by the Cinema Board and had grand reviews from local critics, Butch Francisco saying that its the first fully realized Filipino Art Film, eh?) digital film Ilusyon by Paolo Villaluna and Ellen Ramos, and written by Villaluna and Jon Red. The film is not bad by any means, it's actually commendable considering the fact that it has a distinct visual style, and an overall cinematic feel to it despite the fact that it was filmed using HD Digital Videocams. However, the film is no masterpiece. It has too many quirks and the typical Filipino independent movement stylistics that seem to tick me off. Aureaus Solito's Ang Pagdadalaga ni Maximo Oliveros overcame that barrier and the results was wonderful. The film felt authentically filmic, no pretensions and no inner angst feel to it. Now, Ilusyon is very different. It's obviously pretentious. The theme is never satisfyingly tackled, and is only discussed skin deep. There are characters (mostly for comic relief) that feel out of place and unnecessary. The film has a nice dreamy mood to it, but that never really results into anything great. It's all cigarettes and smoke, without the addicting nicotene or the interesting sticking pungent odor of the smoke.
The second digital film I saw is Gil Portes' Matthew, Mark, Luke, and John which is totally unforgettable (in a bad way). The disgusting side effects of Portes' latest morality play (actually four of them) has been etched into my subconscious (which will probably give me a right to sue him for moral, actual, and exemplary damages). Portes and his usual collaborators have come up with four stories about four men (named after the four evangelists) and their respective sinful lives juxtaposed to their Wednesday habit of praying a novena. The film is utterly insulting to the intelligence and it is plainly exploitative. I pity the actors (both the good ones and the awful ones) for sacrificing so much for something so terrible. Gil Portes should stop making films, he actually should've stopped right after Mga Munting Tinig... and I thought he couldn't do worse than Homecoming.
It's really such a hassle to go to Manila just to watch these films and I probably would have to forego of the opportunity of seeing the international entries. I hope the Best of Cinemanila will be screened in Ayala or Megamall.
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Sorry to hear that oggs. Not all indie films are actually good. So far I've only seen two from Cinemalaya, BIG TIME & PAGDADALAGA NI MAXIMO OLIVEROS. Among the bunch at Cinemanila, only DILIM looks promising.
I'll try to watch the International entries this coming weekend.
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(http://img462.imageshack.us/img462/8566/masseur5bm.jpg)
Masahista - Brillante Mendoza
A friend commented that if a Filipino film ever gets recognized abroad, you wouldn't be surprised that its most probably a gay film. That says a lot about the current recognition Philippine cinema has in the eyes of foreign cineastes. For example, probably the most recognized Lino Brocka film in America would be Macho Dancer, which is probably one of the great director's worst films. The only Filipino films available on DVD outside the shores of the islands are again, Macho Dancer, Midnight Dancers and Burlesk King, which are all about male club dancers who engage in the profession to escape the poverty of Manila. This year alone, the two Philippine films that got recognized abroad are gay themed, Ang Pagdadalaga ni Maximo Oliveros (The Blossoming of Maximo Oliveros), which won a prize in Montreal, and Masahista (The Masseur), which co-shared the Golden Leopard for the video competition in Locarno. Masahista treads closer to the traditions of Macho Dancer, etc. as it tells the story of masseur (Coco Martin) who works for a gay massage parlor in Manila. Juxtaposed to his servicing a male client (Allan Paule), is his life in his province Pampanga where his estranged father dies of liver failure. One thing that separates Masahista from the rest of the aforementioned macho dancer flicks I've mentioned that it grounds itself with a realistic, if not less interesting, plot that does not deny the fact that poverty may not be connected to the fate of a masseur, and that in such profession, relationships are merely skin deep, and that dual lives have to be lived to survive. Director Brillante Mendoza, who used to be a production designer, ponders and muses on his themes and characterizations in a relaxed fashion. His camera is a quiet observer, both in Pampanga and inside the shabby confines of the massage parlor. He takes time to capture little details like neighborhood kids playing ball, or the frank conversations between masseur and client, encapsulating further the lost humanity of these men. Masahista, however, is no masterpiece. It's reiterated themes are not as original as I've expected them to be. Despite the great efforts of all the artists involved in the feature, the film fails to be more insightful than the material. Masahista is still an interesting attempt, despite its plenty of flaws. I just wish that next time, the world notices that the Philippines can do more than churn out these gay-themed melodramas - that there is indeed something more. ***/*****
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Babae sa Bubungang Lata had a gay thread in it...then there's Jack 'n Jill and Ang Tatay Kong Nanay. But yeah, the great gay Filipino film has yet to be made, I think, even if more than half the best films in the '70s and '80s till now are by gay filmmakers..
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The most compelling portrayal of gay men is in "Maynila sa Kuko ng Liwanag". It is not positive and yet it is very realistic.
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i also think Brocka's Tubog Sa Ginto was one of those films that showed the inner feelings and desires of a closeted homosexual played by Eddie Garcial in probably one of his finest screen portrayals.
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SIGAW
Technically outstanding piece of work from Yam Laranas. Nice visual ride also, although imitated those countless Japanese horror flicks that we have already seen. Its getting all the raves in the U.S. and I'm glad about it. Check it out!
SALAWAHAN
This is perhaps the best comedy ever done by the late Ishmael Bernal. The battle of the sexes told efficiently in a provocative, truthful, honest and straight forward. The ensemble cast of Rio Locsin, Jay Ilagan, Mat Ranillo III and Ms. Rita Gomez are all good. Witty that you can always expect from a Bernal flick. Man, I miss this kind of movies. They don't do like this anymore.
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Gil Portes should stop making films, he actually should've stopped right after Mga Munting Tinig... and I thought he couldn't do worse than Homecoming.
I think so, too! I don't know what the so-called critics see in Gil Portes's works when I feel that most of them were badly done (most of which were because of the faulty script)! Even "Munting Tinig" for me wasn't that good. If he wouldn't stop, at least re-think his works. Most of the times, I believe, that he'd be so enthused with the "topic" of his films that he forgets to focus on its quality.
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I saw Masahista as well. There were so much hype about the award that it received but I felt that it didn't live up to what I expect it to be. It was good but it could have been better. But then again. remembering the words of the late Lino Brocka (taken from the Bonus feature of Macho Dancer dvd), who are we to say what the directors had to do about their movies? ???
Still, I'm proud that it won internationally!
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(http://img137.imageshack.us/img137/9650/bayani25yf.jpg)
Bayani - Raymond Red
Raymond Red is one of the Philippines' most underappreciated director, mainly because his medium of choice is the short film. Having won a Palme d'Or for his brilliant short Anino, he has already established a steady reputation internationally, even though most of his countrymen only know him by name, but probably have never seen and appreciated his films. Red's first feature film Bayani was made possible with the backing of German producers. Bayani (the nearest English translation is Patriot) is a cinematic retelling of the crusade of Filipino revolutionary leader Andres Bonifacio (Julio Diaz) which tragically ended when he was executed as a traitor by his own countrymen. The film is narrated by an unknown revolutionary soldier who witnessed the execution. Interestingly, the narration is quite historically accurate and is told as objectively as possible. However, while the narration is objective and can be dull as a blatant history lesson, Red (with the help of co-cinematographer Yam Laranas) visualizes the film with poetic flair. Red spends much time with dream sequences, and carefully captures Bonifacio's facial gestures and features while the narrator objectively talks about what is happening in the historic world. It is as if the camera is more interested in what is going inside the mind of the hero. It is quite interesting to note that Bonifacio, who is often regarded as the most fiery of Philippine heroes (especially as compared to pacifist Jose Rizal), is portrayed here more as a sage rather than an arms-bearing general. The film is especially moody, burdening the theme with a sure impending tragedy whose repercussions as regards to current Filipino psyche is inevitably obvious and apt. The music scoring is eery and atmospheric, the acting is mostly effective. It is quite sad to know that Red's film is pretty much available to both Filipino and international viewers as the film is probably one of the most accurate biographies ever put on screen. ****1/2/*****
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If I remember right, Bonifacio's name is never mentioned in the film at all--this being some controversy about the nature of his death (hot topic among historians, even today). Teddy Co liked to argue that Bayani takes place in an alternative universe, where someone like Bonifacio existed, and that this is one version of what happened.
Our first major science-fiction film (of the alternate-universe genre) in effect.
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Yup, Bonifacio's name is never mentioned. He's always referred to as the Supremo. I don't know if I'll buy the alternative universe angle but that's surely an interesting take on the film.
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No, it's a stretch. But it looks like a different world, doesn't it, or definitely a different time? Beautiful photography.
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Burlesque Queen
One of Vilma's best and most hearfelt performances ever, with a visual style that is truly Celso Ad's own.
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Mario O'Hara considers Celso's eye superior to even Gerry de Leon's. And in the late '70s and early '80s, when everyone was at the peak of their powers, Celso was whispered to be the one most likely to break out internationally. What happened next was that Lino solidified his reputation abroad with more political films, Bernal came out with Maynila By Night and Himala, and Celso started to become erratic--or more erratic usual, even for him. But for a time there, he was it, the prodigal son in more ways than one.
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Yes, O'Hara did say that Celso Ad's visual style just blew him away. Saw a copy of Julian Makabayan on VCD; wanted to get it but was apprehensive. What do you think of it Noel? Teddy said that "it could've been a classic".
But back to Vilma in Burlesque, it's one of the rare times I've seen her act with such restraint and bereft of the usual hysterics. The scene where she speaks to her dying father was unforgettable.
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Haven't seen the VCD. the 16 mm I saw barely had a soundtrack, so I didn't understand the story. But the visuals blew me away.
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(http://www.geocities.com/Hollywood/Interview/8544/films/kruskawayan/kruskawayan.jpg)
Krus na Kawayan by Manuel Conde
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i also think Brocka's Tubog Sa Ginto was one of those films that showed the inner feelings and desires of a closeted homosexual played by Eddie Garcial in probably one of his finest screen portrayals.
Forgot about this film.
Tubog sa Guinto (Dipped in Gold, 1970) (http://journals.aol.com/noelbotevera/MyJournal/entries/914)
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Burlesque Queen
One of Vilma's best and most hearfelt performances ever, with a visual style that is truly Celso Ad's own.
Couldn't agree more. Strong, strong visuals of Celso Ad that only him can solidify. Established him as one of the enfant terrible of Philippine Cinema.
I'm also dying to see PAGPUTI NG UWAK, PAGITIM NG TAGAK.
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The Anothers!
;D ;D ;D ;D
Yay yay yay!!!
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ISPIRITISTA
aliw ako sa mga taga-EAT BULAGA ;D
nuon, Ruby Rodriguez never fails to show up on a vic/joey movie ---- ngayon DAUGHTER na nya kasama... at si GLADYS na ang katulong...
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Ive seen Ako Ligal Wife and Exodus.
Exodus is acceptable.
Ako Ligal Wife, I like the acting of Ms. Padilla
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Exodus is acceptable.
Problema ko lang dito -- panlaban daw ito sa Lord of the Rings sabi ni Bong Revilla ;D ;D ;D Excuse me!
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Problema ko lang dito -- panlaban daw ito sa Lord of the Rings sabi ni Bong Revilla ;D ;D ;D Excuse me!
Whoa!!! Akala ko Lord of Charings yung sinasabi nyang pwedeng tapatan ng movie nya... malayo naman ang itsura ni PJ kay eric matti a... ;D ;D :D ;D
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MULAWIN the movie
rated A
kaya siguro rated A kase puro sigawan ng AAAAAAAAAAAAAAAAAA
;D
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MULAWIN the movie
rated A
kaya siguro rated A kase puro sigawan ng AAAAAAAAAAAAAAAAAA
;D
Baka Komedi kasi. Even the rating is a joke...
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Don't Give Up On Us :)
Bb. Joyce Bernal has not lost her touch ;D
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Salome - Laurice Guillen
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/*****
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Sana Maulit Muli - Olivia Lamasan
I caught Olivia Lamasan's Sana Maulit Muli (roughly translated as Till It Happens Again) on cable. Last time I caught this film was a few years back and I remember being satisfied with the film. With my recent viewing, I must say that my feelings towards the film haven't changed much but there are a few stuff that I noticed. Sana Maulit Muli is about the relationship of Jerry (Aga Muhlach) and Agnes (Lea Salonga). Jerry is an up and coming advertising man who aside from saving up for his wedding with Agnes, has a sister to send to school and parents to give monthly sustenance. Agnes, on the other hand, is a timid girl who is being petitioned to become an American immigrant by her mother. The two try to survive the hardships of a long distance relationship but as most relationships of that sort, their communication crumbles. A few months later, Agnes has established herself as a successful real estate agent while Jerry decides to stop over San Francisco for old time's sake. Jerry tries his best to revive old flames by overstaying in San Francisco and abandoning his advertising job in the Philippines in exchange for blue collar jobs in San Francisco. The film is very well made. Romy Vitug's cinematography is quite a joy to behold. Though Lamasan may not be able to withhold from showing the tourist sites in San Francisco ala video travelogue, she keeps such in a minimum and instead gives primary importance by instilling a cold and difficult atmosphere during the interior scenes. There's so much to observe from the film. Lamasan and his scriptwriters pump the love story with several sideplots that are both engaging and well thought of. The sideplot regarding Jerry's co-workers who are being maltreated by their Filipino boss is quite effective portraying the realities of immigrant life - that it is not all milk and honey, but coupled with hardships and threats coming, most painfully, from fellow Filipinos. The most glaring observation in my second viewing is Lea Salonga's acting. Aga Muhlach is very good here. He is quite natural as the suffering boyfriend. However, Salonga, who became famous playing Kim in the broadway musicale Miss Saigon, can't keep up. She delivers her lines in English with so much gusto and enunciation that you can't help but feel that she's acting for a live audience. Her performance undoes the film. Even her weeping scenes early in the film are overdone. It's a very good thing that Salonga possesses a natural charisma that would fool anybody who watches the film for the very first time. ***/*****
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Actually, watching it with an audience is instructive. The girls loved Aga, hated Lea; one girl behind me in particular kept demanding that Lea hide her face and make way for her "much prettier" co-star. To tell the truth, she (the girl behind me) was funnier and more entertaining than anything on the big screen. ;D
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Incidentally, how did you see Salome? What I know is that all prints are gone. Are they showing that on Cinema One?
It's pretty good (Rashomon, with a better understanding of women's sexuality), but I do much prefer Init sa Magdamag. That I think is Guillen's masterpiece.
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Even the defunct Bancom Audiovision has no copy of the film except, perhaps, the producer Armida Siguion Reyna.
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Even the defunct Bancom Audiovision has no copy of the film except, perhaps, the producer Armida Siguion Reyna.
even Laurice Guillen doesn't have a copy of the movie... how unfortunate.
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Was it negligence on their part, Jo? Even Peque was looking before on BINHI his first feature.
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Was it negligence on their part, Jo? Even Peque was looking before on BINHI his first feature.
i wouldn't say negligence... most of the time the films' producer won't even give the director a video copy of their movie. i could cite Gil Portes & maybe Maryo J. de los Reyes who has copies of their films. Gil on the other hand has his movies on 35mm. most Filipino film directors had to learn their lesson the hard way. in my experience it's not just filmmakers who doesn't have a video archive of their work, so does movie actors. case in point, Nora Aunor doesn't even have copies of her movies the ones she starred in & even produced, which is so unfortunate. i'm trying my best to put together a video library of her films, TV shows, stage productions & concerts. i could say i'm about 65% complete. Ricky Davao whom i had the opportunity of meeting last summer has none of his noteworthy films collected on video. i had to give him copies of his movies such as White Slavery, Misis Mo, Misis Ko, Kailan Tama Ang Mali?, Magdusa Ka!, Minsan, May Isang Ina, Saranggola, Minsan, May Isang Puso & Alyas Boy Life.
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I think it's quite sad that we're losing our cinematic legacy to nature and neglect. I think that the reason why our present film industry doesn't seem to have its own identity is the lack of opportunities for young filmmakers to actually immerse themselves in our film legacy. Sure, they probably saw a few Brockas, or Bernals... but not enough to consider them great filmmakers or not enough to actually inspire their filmmakers' souls to achieve a likeminded greatness or social consciousness or artistic integrity. Instead, the filmmakers look for easily accessible material - Hollywood. Our present film industry is not fueled by our masters' legacies, but by Hollywood... which is quite a pity.
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Mario O'Hara has nothing--zilch--nada. He has the tapes of the Tatlong Taong Walang Diyos soundtrack, but that's it. I even wonder if he still has the script.
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Some of the classic films were found overseas by Teddy Co a few years back. Sad, sad thing really that someone should go overseas just to retrieve these long lost masterpieces of Philippine Cinema. It's good to know that Abs-Cbn has a film archive now to take care all those Filipino movies that they acquired.
If the Edsa Revolution didn't succeed, ECP should have done that.
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I try not to think too much about what we've lost, because if you do, it... can.. drive... you... over... the... edge.
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Noel, if we were able to save those films, do you think it would greatly affect Philppine Cinema's condition now?
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If we lost those films, I think it would greatly affect not cinema, but our very soul.
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You mean, those lost films can save even our souls, man? To back up oggs post, the new generation can look up to those films and make it their inspiration. One good advantage of this is, they will not be spoon feed by Hollywood too much.
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You mean, those lost films can save even our souls, man? To back up oggs post, the new generation can look up to those films and make it their inspiration. One good advantage of this is, they will not be spoon feed by Hollywood too much.
most of these lost films need to be restored and the cost of it is like making another film. i'm glad that at least there are some movies still available on vhs format.
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Unitel Pictures, The only company that helping our old movies restored in dvd format like:
Karnal and Cain at Abel. I know were to buy them.
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(http://www.cinefilipino.com/dvdcovers/kainabel.jpg)
(http://www.cinefilipino.com/dvdcovers/karnal.jpg)
(http://www.cinefilipino.com/dvdcovers/manilabynight.jpg)
Where to buy them. Pls pls pls pls..................be available on Philippine Market!!!!!
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Big Time Kakapanood ko lang last night sa SM Cinema. Astig ang dating, nakakatawa ang mga linya. Very Pinoy ang dating. Iba talaga kapag indie film ngayon dito sa Pinas. ;D
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You mean, those lost films can save even our souls, man?
They represent some of the very best we're capable of, and from the evidence, that's a considerable lot.
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CAVITE
Its not anly about the palce in Cavite . But its all about the poverty here in our country. Ang galing naman ng gumawa ng pelikulang ito. Napaka tapang o lakas talaga ng loob. Actor, Script Writer at Direktor pa. Astig!!!
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UMUULAN , UMAARAW
The story is all about sadness or lonliness of a person. Seeking attention and understranding from other people. The editing or effects on visuals makes the audience dizzy. lack of light sa mga scenes. Kahit na gabi ang scene dapat di naman ganun kadilim. lessons from the story?!!! Sorry walang apekto sa akin. Bautista Family produced the film. Romnick Sarmienta played as a Security Guard. Di bagay!!!
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MASAHISTA
Walang pinagkaiba ang buhay nila katulad ng mga GRO. Para kumita ng Pera madami pambobola sa customer na kailangan gawin. Mas detalyado dito ang scenes. Bawat isang Masahista, kanya kanya ng style ng pambobola. Di ko lang alam kung may ibang Pelikulang Pilipino na nagpapakita ng matinding kagarapalan sa paghuthot ng Pera sa mga customer tulad ng Pelikulang Masahista. Ang galing ng Pelikulang ito, Napaka tapang!!!
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Hinugot Sa Langit & Manila By Night <-- Both Bernal Classics
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COVER GIRL (1980)
Starring: Eddie Garcia, Amy Austria, Lorna Tolentino & Beth Bautista
Director: Junn P. Cabrera
My Rating: 2 1/2 ;) out of 4 ;D
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Gregorio Fernandez' HIGIT SA LAHAT
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Just saw "Kakaba ka ba?" on Cinema One starring Boyet de Leon, Jay Ilagan, Sandy Andolong and Charo Santos. Really smart comedy! Ginawang literal ni Mike de Leon na Religion is the opium of the masses! ;D
Over the weekend, rented a VCD of Shake Rattle Roll 8. Rather disappointing, though I liked the Yaya episode starring Iza Calzado. Directed by Toppel Lee, I think? The mood he established was really effective. Could've been fantastic Medyo corny lang yung ending.Also rented Txt starring Angel Locsin and Dennis Trillo. Sayang. Could have been acceptable kaso yung ending naman panggulat lang, walang closure.For me, a more commercial/traditional ending would have been: Bad guy possesses good guy, goes after girl but is able to momentarily fight off evil and sacrifices self to save girl.
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Nag-Pinoy movie watching na naman kami nung weekend. Saw Jeffrey Jeturian's Minsan Pa and I loved it! Not your usual romantic Pinoy movie but very affecting! My ma and sister were crying their eyes out by the end. I hate myself for not seeing this on the big screen. I actually want to buy the dvd of this and send it to my Cebuano relatives abroad. Great acting all around and Ara Mina and Rio Locsin are splendid here, although Christian Vasquez was a little off. Too bad hindi ito kumita... Some reviews say it was too slow and needed editing but I saw it on a rainy afternoon and never felt sleepy or looked at my watch. I hope Oggs could write a proper review for this movie to help spread the word on this gem of a movie.
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Just saw Inang Yaya on DVD. Technically it's a great movie (the dvd itself is one of the best-produced Pinoy DVD that I've bought so far). The movie plays like a fairy tale. It's a little bit sugary for my taste and the situations and characters seem false. But with all its flaws still it's a movie worth watching. One thing that's great in this is Maricel Soriano's acting. I never really like her acting style (although she's great in comedic roles!), I think it's the way she cries. I find it a bit mannered and overly dramatic. Here's she's more natural, totally inhabiting her character.
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Just saw "You got me!" and I have to say compared to Sam and Toni's last outing, this one seems gray and uninspired. And it gives the impresion that all PNP SAF officers do all day is bust video pirates and illegal VCD vendors when there are murderes, rapists and other real criminals out there.
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(http://i151.photobucket.com/albums/s132/everet_69/DSC00057.jpg)
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Pinoy Blonde-Jaime Fabregas made it fun to watch
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OUIJA. Please see Seance Thread for my comments.
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......again.
MANILA BY NIGHT - REGAL PLATINUM SERIES
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Ang Huling Birhen sa Lupa (2002) 1st viewing: 9/10 2nd viewing: 8.5/10
Segurista (1996) 1st viewing: 10/10 2nd viewing: 10/10
Imahe Nasyon (2006): 8/10
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The last two were Misteryo Sa Tuwa (second time but hardly remember the first one so it was like the first time for me) and Indio Nacional at indiesine. Annotations forthcoming.
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last week... Vic Silayan Retrospective on CinemaOne.
Huk Sa Bagong Pamumuhay
Badjao
Malvarosa
Kisapmata
Anak Dalita
;D
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.......again
Marilou Diaz-Abaya's masterful KARNAL
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Dear Heart. Starring a young Sharon in her first film, tis a light-hearted movie that I found to be quite entertaining. Classic Danny Zalcita touches all around.
Didn't know that this wasn't a Viva Film, though it looked and felt like one, but rather 'twas a Sining Silangan production.
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Didn't know that this wasn't a Viva Film, though it looked and felt like one, but rather 'twas a Sining Silangan production.
It has a feel of a Viva movie in the '80's all throughout. I thought so too before. :)
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BROKEN MARRIAGE
Ishmael Bernal's domestic drama dealing with marital issues has been rotating on my dvd player since last night. Watched again this morning, the witty lines thrown in by Vilma and Boyet denotes truthful, powerful and intense for a married couple. Consistent from start to finish. Most fun to watch are the cameos of every celebrity and Tessie Tomas shines as a director.
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Broken Marriage is definitely one of my favorite Bernal films... you can read my thoughts on the movie at sari-saringsinengpinoy.blogspot.com
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I hope they can preserve the print of the film.
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IMAHE NASYON again for d' second time...pareng Keating, your a fan of indie films right? What do you think of IMAHE NASYON?
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I saw it during its preem. Mixed bag.... some were actually good, some were bad.
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Broken Marriage is definitely one of my favorite Bernal films... you can read my thoughts on the movie at sari-saringsinengpinoy.blogspot.com
Bernal was able to tone down the acting style of Boyet. His quiet moments especially when he was telling his marital problems with Ray Ventura and company. Boyet got my respect in my book for BROKEN MARRIAGE aside from TATLONG TAONG WALANG DIYOS and TISOY.
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I saw it during its preem. Mixed bag.... some were actually good, some were bad.
me too...I think TALAHIB is the best episode...
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Autohystoria (Raya Martin, 2007) (http://oggsmoggs.blogspot.com/2007/09/autohystoria-2007.html)
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Tagos ng Dugo
Supposing you were on a quiz show and in the crucial final round the host asks you to name movies of note by Maryo J. de Los Reyes. I am quite sure you'd be left befuddled, scratching your head and hard pressed to cough-up an answer save for, perhaps, Magnifico or some other title. I won't blame you because, I think, he is so prolific a filmmaker that it's really difficult to pin him down or put a finger on him.
With that thought in mind, I had the chance to see Tagos ng Dugo earlier today and I will say that the film deserves to be considered as one his best. I was very much surprised with Vilma's performance here, and her portrayal of a mentally challenged girl who does a Mr. Hyde at night was indeed impressive if not convincing. And Maryo's direction makes one say: I never knew he could do a psychological thriller! (Also, you may be surprised to learn the Kuya Cesar Hernando did the production design, a "one-off" project for him)
But just an observation: Where did Vilma's character get her "Lady of the Night" costumes?