Monday, July 27, 2009
Director: Marilou Diaz-Abaya
Writers: Jun Lana, Ricardo Lee, Peter Ong Lim
Cast: Cesar Montano, Joel Torre, Jaime Fabregas, Gloria Diaz, Gardo Versoza, Monique Wilson, Chin Chin Gutierrez, Mickey Ferriols, Pen Medina
Runtime: 178 minutes
What was the Film Academy of the Philippines (FAP) thinking when it did not choose to send Jose Rizal as the country's contender for the Best Foreign Language Film Oscar in 1998? It's a biopic on the national hero, who is known all around the world. The film was directed by Marilou Diaz-Abaya, a key figure in the Second Golden Age of Philippine cinema. That year was the celebration of the centennial of Philippine independence.
Above all, it is a magnificent film.
GMA Films certainly spared no expenses. The authentic costumes, dialogue, and sets, an effort so seldom seen in an industry burdened by laziness and underachievement, immerse the audience into the time of Jose Rizal's (Cesar Montano) trial by his enemies among the Spaniard colonialists. Such has been done before, with Tikoy Aguiluz's Rizal sa Dapitan and Mike de Leon's surreal Bayaning Third World being the more popular other examples, but Diaz-Abaya's film is the largest in scale. Philippine cinema is not so well known for epics, but with this film she shows that we are capable of making a spectacular, big-budgeted project that does not feel bloated, overly indulgent, or innane. Though Bayaning Third World tops Jose Rizal in terms of ambition, the latter manages to add a mesmerizing angle to the Rizal story; scenes from the national hero's novels Noli Me Tangere and El Filibusterismo are interspersed with the natural events. In a key point in the film, there is even an overlap, and it provides one of the more intriguing perspectives on the mind of a figure almost deified in Philippine society.
Montano, now a multi-awarded actor and director, is brilliant as Rizal; it is difficult to think of a more definitive portrayal on screen. Joel Torre, heretofore the go-to man for Rizal depictions (he takes on that role in Bayaning Third World), shows in his role as Simon Ibarra, the lead character in Rizal's novels, why he is one of the most respected actors in the local industry. A characteristically powerful, controlled turn. Veteran Jaime Fabregas plays Rizal's defense lawyer, a Spaniard who learns to respect and love Rizal as a friend, and he deserves the many awards that he received for the stirring performance.
Since its release, the Philippines has not seen a film as grand and as deserving of the term as Jose Rizal. The subject matter notwithstanding, there exist in this country only a few opportunities to marry great direction and overall quality with a big budget. One hopes that when the opportunity does come, we end up with a cinematic gift as worthy of representing the country as Jose Rizal is.
Friday, July 24, 2009
(You Have Been Weighed and Found Wanting)
Director: Lino Brocka
Writers: Lino Brocka, Mario O'Hara
Cast: Lolita Rodriguez, Lilia Dizon, Eddie Garcia, Mario O'Hara, Hilda Koronel, Christopher de Leon
Runtime: 126 minutes
In Lino Brocka's distinguished oeuvre, Tinimbang Ka Ngunit Kulang is one of the true gems. The title itself--in both Filipino and English--suggests a powerful morality piece, and the film is nothing short of that.
Junior (Christopher de Leon), born into a life of privilege, is contentedly living his life as a young man with everything laid out for him. He is educated, his family is affluent, and he is in a relationship with local beauty Evangeline (Hilda Koronel). But then his path crosses with those of social outcasts Kuala (Lolita Rodriguez), a woman driven to madness by the forced abortion of her child, and the leper Bertong (Mario O'Hara). As he spends more time with the unlikely--and scandalous, at least to the townsfolk--pair, his perspectives dramatically change. Not all is right with the world that he has become accustomed to, and Evangeline's ambivalence toward him does nothing to convince him otherwise. As Brocka films tend to, this ends on a tragic note, but there is something cathartic and hopeful in seeing Junior, the lone light, weave his way through the shadowed crowd with a newly born child cradled in his arms.
Brocka's Philippines was the harsh, suppresive Philippines of the Marcos era, and he never failed to indict the government or at the very least shed light on the country's social ills in his more prominent films. Here he showcases the marginalization that has had Philippine society in such a strong grip for much of its colonial history, and the hypocrisy born out of religion that has served to emphasize it. The title (perhaps one of the best in Philippine cinema) notwithstanding, the movie's emotional power comes from Brocka's sure-handed direction, his and O'Hara's strong screenplay, and the superb performances of de Leon, Rodriguez, O'Hara, and the supporting players.
Despite the obvious though still arguable differences between the Marcos era and the current one, Tinimbang remains as watchable and as truthful now as it did when it was first released. On top of being a piece on the social ills that still prevail in many parts of the country, it is, quite simply, a great film. That in itself ensures it a permanent lofty place in the history of Philippine cinema and social commentary.
Photo source: Philippine Cinema Vault