In what could be one of the year’s most adorable cinematic
turns, Arci Munoz plays Tintin, a makeup artist-cum-beauty vlogger who wears
her heart on her sleeve. In online videos, she shares beauty tips and laces them
with no-holds-barred stories about her heartache. But after getting spurned by
her occasional lover (Victor Silayan) for another girl, Tintin breaks down in a
video episode that went viral. Six months later, she meets a kindred soul Jake
(Gerald Anderson) who himself is heartbroken. Their awkward meet-up turns into
an engaging overnight gabfest that eventually settles into comfortable
companionship. Have they conveniently friend-zoned their relationship? After
all, they admit to not being attracted with each other. Or aren’t they?
Dan Villegas’s “Always
Be My Maybe” delves into the mechanics of contemporary couplings through
the unlikely friendship of two characters who are trying to pick up the pieces of
their broken hearts after their respective relationships have failed. What’s
instructive is the conflicting points of view on the different stages of
hooking up. I am reminded of the situational dilemma in Cathy Garcia-Molina’s
insightful “Unofficially Yours”. This could be its companion piece.
More than anything, the narrative is a precarious reflection
of the current sexual mores that pervade in modern-day romance. While
intercourse used to pretty much define a relationship (i.e. “definitions” are
made before consummation), these days, such emotional scrutiny is taken into
consideration post-coitally: did he cuddle, did she stay longer than necessary,
was there discussion on the state of affairs? Permissive society has become the
norm, instead of being the exception. I do have qualms about a few of the
scenes. When Jake shows his studio to Tintin, asking her to pose for him, she
offers to show her tattoo – and more, and in the process ends up shedding off all
her clothes. So much for sensible and pragmatic cinematic heroines, right? As
Jake would rationalize it, “sex is
different from making love”, but such is the excuse of cads who just want
their concupiscent catharsis.
Interestingly, the character of Jake seems too comfortably
close to home for Gerald Anderson. Was the character written with him in mind?
One would suspect because Anderson essays his role with sincerity and charm.
Moreover, you could sense a morsel of danger in his dealings with Tintin. Is it
the nature of “man” as the sexual
creature that’s coming into the picture? Anderson is easily “pa-fall” without doing much. His ability
to transcend this beyond the celluloid is impeccable. He would be remembered
for this role. It doesn’t hurt that he has this easy, albeit complementary
chemistry with Arci Munoz.
Munoz, on the other hand, hits the cinematic jackpot. She
has triumphantly tempered her depiction of an acerbic heroine with just the
right emotive concoction. I keep laughing every time I hear her complain about
Valentines Day: “Sino bang nag-imbento
nun… ipapatumba ko talaga!”
If there ever was perfect characterization,
hers would be the new gold standard. By this, I am saying that, after watching the
film, it would be hard to picture another actress playing Tintin. Munoz absolutely
disarms, you can’t help but root for her despite occasionally embarrassing choices.
Munoz owned Tintin’s every candor, manner and style. She’s the modern-day
Filipina who loves wholeheartedly - body, mind and soul. In her moments of
belated epiphany, she laments, “Di ko
alam, naibigay ko na pala ang lahat.” Sometimes, loving isn’t counting how
much you’ve shared of yourself. We sometimes throw caution to the wind so we
can love without restriction, beyond fences and borders. But in this dilemma,
there is a cautionary tale. Emotional investments, like finances, don’t always
make great returns. When they do, we’d all be in the moon for it. Thus I am tempted to submit this as specimen for any sociological study concerning norms of contemporary relationship. It isn't exhaustive but it is a valid physiognomy of the subject.
Director Dan Villegas succeeds to spin a discerning yarn that more
than entertains. The script bristles with fresh and astute observations about life and relationships in modern society. The
pace is brisk and snappy; the cinematic palette clean, the music unobtrusive. The supporting characters (Jane Oineza, Ricci Chan,
Cacai Bautista, Victor Silayan) are a delightful coterie of meme-spewing souls
you’d want them on your side when life begrudges you of a few smiles. The movie
is funny, provocative, sexy, and current. If cinema makes you re-examine your
relationships, then it would be the worthy medium for your time and patronage. “Always Be My Baby” is solid
entertainment and should not be missed.
