2010's Best Performances

Best performances in films are typified by an actor's ability to lend sincerity and truth to a given character. They transcend and go beyond the limitations of a written character, making them come to life. They also become vessels of insight; they mirror lives and allow us to "feel" and sympathize for them; to frighten or amuse us, allure us with the power of their emotion. From 73 commercially released movies from January 1 to December 31, 2010, here is our shortlist of those who deserve our standing ovation.

These are 2010's Best Performances:

Best Performance by an Actor in a Lead Role:

1. Ronnie Lazaro as the cantankerous ex-convict with a soft heart for damsels in distress in "Ishmael"

2. John Lloyd Cruz as Allan, the lonely architect who falls for a girl who writes on stones in "Miss You Like Crazy"

Ronnie Lazaro & John Lloyd Cruz

3. Sid Lucero as Jun, the ex-seminarian-cum-activist who figures in a clandestine affair with Errol (Cogie Domingo), a married lawyer in the over-written and sappy "Muli".

4. Joey Paras as Wilson, a film production assistant, who faces judicial reproach when he misplaces a rented tapestry used during a TV commercial shoot in "Last Supper No. 3"

Sid Lucero & Joey Paras

5. Pen Medina as Lolo Pol, the aging inmate forced to do his last assassination "job" to avert threats against his daughter's life in "Layang Bilanggo"

6. Coco Martin as the traveling journalist who follows Noynoy Aquino's campaign trail in "Noy"

Pen Medina & Coco Martin

Our best performance by an actor in a lead role: Sid Lucero is the best thing in the otherwise mediocre gay romance, "Muli". In the movie, Lucero is self assured, a packet of smoldering passion. His intensity overflows; his longing looks towards the self-absorbed Errol quite palpable. You'd wish someone would look at you that way!

Here are the year's best performance by an actress in a lead role:

1. Bea Alonzo as the bitter daughter Dianne who's ambivalent of her father's homecoming 10 years after he abandoned his family to live with his mistress in the predictable "Sa Yo Lamang"

2. Jennylyn Mercado as the spoiled heiress who, in the 1920s, from her New York studies, comes home to Isabela in "Rosario"

Bea Alonzo & Jennylyn Mercado

3. Frenchescka Farr as Amelia, the poverty-stricken Ilocano lass who becomes royal nanny in an emirate household in the musical-adventure "Emir". Farr is emotionally adroit and vocally nimble, without a trace of excesses. She is the perfect heroine that embodies the strong Filipina! It's hard to picture any other actresses play Amelia. Farr lights up the screen like a newly crowned cinema royalty.

4. Angelica Panganiban is simply a sight to behold as Stephanie, the blushing bride who gloriously transforms into a "flaming fairy" in "Here Comes The Bride"

Frenchescka Farr & Angelica Panganiban

5. Carla Abellana as the perturbed tutor Diane who unearths several disturbing facts other than her wards' photosensitivity in Shake, Rattle & Roll 12's "Punerarya" segment. A feisty, empathetic heroine - and a "star" is truly born!

6. Rita Avila as Soledad, the middle aged housewife who figures in an illicit tryst with a younger man one chatty night in Boracay in “Magdamag”.

Our Best Actress: Hands down and no contest - Bea Alonzo is a virtual force of nature as Dianne in "Sa Yo Lamang"! She elevates the triteness of the pedestrian narrative, conveying herself into several levels of emotional intensity. I am telling you, guys, give Bea the role of a stone and she will make us believe it! Ms. Alonzo is truly this generation's most insightful actress! And I hope Star Cinema remembers this!

Carla Abellana & Rita Avila

Best Performance by an Actor in a Supporting Role:

1. Dolphy as Francisco who tells the sprawling saga of his grandmother in "Rosario"

2. Ricky Davao as Miguel, the scurrilous and slimy landlord in "Rosario"

Dolphy & Ricky Davao

3. Enchong Dee as the conflicted James, an honor student who resorts to cheating, in "Sa Yo Lamang"

4. Luis Manzano as Sarah Geronimo's suitor in the product-peddling, commercial-heavy "Hating Kapatid". Manzano's self deprecating scenes are a joy to behold, I couldn't help myself from laughing so hard. Remember that scene where Cecil (Sarah Geronimo) pursues Luis - on foot! - as she tries to apologize all the way from North Edsa to Galleria? Doing comedy is never an easy task.

Enchong Dee & Luis Manzano

5. Jeffrey Quizon as the closeted funeral parlor attendant who joins a grieving family's trip to secure the corpse of a beloved daughter in "Two Funerals"

6. Marc Abaya as Pido, the ravenous cult leader in the visually delectable (in fact, 2010's most gorgeous film) "Dagim"

Our Best Actor in a Supporting Role: Dolphy as Francisco, the intuitive storyteller who mines his limited scenes with sincerity and heartfelt simplicity in "Rosario". In the hands of a lesser actor, his stories could be easily watered down as hearsay. And Mr. Manny Pangilinan wouldn't have produced this lavish tale. :->

Jeffrey Quizon & Marc Abaya

Best Performance by an Actress in a Supporting Role:

1. Jodi Sta. Maria as the unwed mother Aylynn who feels naturally conflicted when her old paramour Wesley (Sam Milby) comes home in the Ozu-styled "Third World Happy"

2. Kalila Aguilos as the long suffering Tersing, a maid in a royal household, who's eternally cash-strapped and under-appreciated in "Emir". Check out her duet ("O Maliwanag Na Buwan") with Amelia (Farr).

Jodi Sta. Maria & Kalila Aguilos

3. Eugene Domingo as Rowena, Ina's best friend in the riotous "Ang Tanging Ina Mo...Last Na 'To", a film that somehow reminds you of the grandeur of Ms. Domingo's comedic talent!

4. Odette Khan as Manang Ludya, one of the caretakers at the funeral parlor in Shake, Rattle & Roll 12's Punerarya episode. She navigated through the segment almost without a line, but her presence is so powerful, you remember her serrated fangs way after leaving the cinema.

Our Best Actress in a Supporting Role: Jodi Sta. Maria in "Third World Happy". Ms. Sta. Maria has truly evolved into one of the country's most prolific actresses. Her short scenes with Sam Milby (the first time her character sees her ex-boyfriend - after 12 long years) is a testament to the newfound thespic power of this actress.

Eugene Domingo & Odette Khan

MUSICAL THEMES

We would like to mention the amazing songs worthy of commendation from some of 2010's films: the anthemic "Ba't Ako Narito" sang by Frenchescka Farr ("Emir"), and Toni Gonzaga's perfectly frolicky, hearth-warming "Mahal Kasi Kita" from the often times gratifying - scrumptious "My Amnesia Girl".

Up next: 2010's Worst Films and Performances

Movie Review: Emir - The Grand Filipino Epic as a Musical

Royal ceremony for a prince.

There is much to celebrate in the musical “Emir” but it isn't quite the exhilirating cinema that we expected from director Chito Rono. The narrative sweeps like an epic and the production is grand, enough to impress . Yes, I am impressed! For once, there is a local film project that doesn’t scrape bottom like 80% of the Filipino film output. But is it a benchmark for an excellent film? Does it offer seamless story telling? Are the performances sincere and affecting? Hmm, close. But not quite!

The film chronicles the story of Amelia, played like second skin by newbie Frenchescka Farr. Amelia is a wide eyed dreamer who agonizes over the stark poverty of life in Ilocos. This is shown in a vignette of over-the-top musical scenes that involve a dreaded rat infestation at a night field of corn, as well as the desperate albeit hopeful goodbyes of migrating people. When wind blows off a bill of money, Amelia scampers off to fetch it – then the movie magically uproots her to the arid, exotic landscape of an emirate country. I was literally gasping as the Arabic architecture comes to the fore. Suddenly, you are rudely slapped with the realization of unease. We are transported to a foreign land. This isn’t an abode where you comfortably lie down your bed dreaming of dreams. This is the tortuous road to the better life. Or is it?

Amelia finds herself working at a royal household. What makes life doubly hard is her company of catty co-workers. There is enough internal politicizing among the bevy of domestic helps to encourage flying off to Venus! But her sincerity, good heart and strength of character soon land her the prized position to be the newborn prince’s nanny. And we all know how this carries enough influence and power. The king's coddler is a king in waiting. However, our saintly heroine remains unassuming, soft spoken, and unfazed by her position in the hierarchy of things. But there is an impending trouble ahead – the threat of war! Will she find her rightful place in the sun?

Amiable Liesl Batucan (center) and overeager Melanie Dujunco (right).

Frenchescka Farr astounds us! Her plain countenance is unintimidating. She is a believable representative to the faceless thousands who wind up as subservient “maids” all over the world. More importantly, she comes off with a stirring performance reminiscent of some of Philippine cinema’s greatest heroines. Her vocal work is emotive; her masterful singing highlighting every scene. Ms. Farr single handedly carries the weight of this film on her shoulder. Otherwise, the story tends to waver to a decidedly mainstream sensibility. Parang “komiks”. A lot of the characters are caricaturish, mostly brought about by how the supporting characters envisioned their roles.

For example, let’s take Dulce, who plays Ester - the mayordoma. In the movie’s first half, her depiction of authority is one of plain bad attitude! When she reprimands, she cowers with dagger eyes. Nanlilisik ang mata! Authority should be respectable. It should command a degree of grace, not horror! Her characterization grates so much so that when she falls off sick, then turns over her mayordoma uniform to Amelia, we were puzzled by her 180 degree turn as she duets “Di Ko Pinangarap” with Amelia. Dulce does well in this latter part where she was packing to leave. In fact, I have read several comments online saying that Dulce’s performance merits an award. I beg to disagree. You don’t give an award to a singular moment inconsistent with the rest of a characterization, more so a caricature.

Now let me take the spotlight to the characters that annoyed me no end. Two names – Melanie Dujunco (who plays Mylene) and Beverly Salviejo (who plays Diday), both decending into their versions of Grizabella and the Witches of Emir! As part of the household, these two depicted distracting characterization, playing their parts like this was going to be their Famas or Star Awards trophy! Trouble is, they seem to have forgotten that good acting isn’t meant to upstage other actors. They stick out like sore thumbs! It was like being part of a chorale where a member works exceedingly hard to stick out instead of blend in!

Isn’t Dujunco an old hand in the theater and chorale scene? Hasn’t she learned from her long experience that less is more? That harmony bears a more pleasant existence? Or maybe she actually believed that she was going to take over Frenchescka’s place if she kept upstaging her co-stars? LOL. It does beg these questions! Then there’s Beverly Salviejo who needed reminding that despite being a “movie musical”, Emir's pervading theme is serious! This is not “Yaya at Angelina”, “Kimi Dora” nor “Zsa zsa Zaturnah” where comic characters are requisite. What an annoying bunch. With all their experience in the business, they have resorted to excessively calling attention to themselves. There are no small roles for good actors, but there's no role big enough for bad! Goes to show why they have remained forgettable players in the biz.

Kalila Aguilos plays Tersing, the long suffering moneybag to a philandering husband, and she shines in several of her scenes. Aguilos displays a sense of reverence to an adequately fleshed out character, allowing her to sparkle proudly beside the ever-endearing Frenchescka. Their duet “O Maliwanag na Buwan” (which boasts of Tagalog-Ilocano lyrics) makes for a magical cinematic moment! Something that can’t be said of Francheska’s duet with Sid Lucero, the Arab-Pinoy mestizo who steals Amelia’s affection. Their “Buti Na Lang” duet – a richly melodic song - could have been another special moment, but Sid’s voice – though serviceable and can definitely carry a tune – is too tentative for us to enjoy. He seemed vocally shy, almost whispery, while Frenchescka’s was conspicuously self assured.

The lineup of songs is a mixed bag. Some are affecting, others mere noise. Consider “Di Uubra Dito” when the whole household launches into a Bollywood-style song and dance. There was judicious use of crane to showcase this ambitious number. Unfortunately, the exchanges (a duel of sorts between the Pinay maids and the Sri Lankan staff) were mere clutter. A chaotic mess! To compare this to a standard Bollywood fare is a big injustice to India's quotient for musical entertainment. Those who say that this compares of equal gravity to a Bollywood staple needs to watch more Indian flicks! They obviously do not know what they are talking about.

“Gusto Mo Bang Mangibang Bayan” is more successful in terms of pomp and the extravagance of choreography, although it felt too stagey. “Pesteng Salot” is brilliantly pieced together – the fore as well as the immediate background of corn field luminously lit in the night. Unfortunately, the songs comes off like a tepid warning – loudly orchestrated, melodically offkilter. “Sandosenang Taon, Sandosenang Pasko” is festive and bittersweet, while ”Alilang Jetsetter” is playful enough to compel us to sit through a bad montage.

“Di Masabi” could have been a sweet number, but Jhong Hilario’s pipes are a little wanting, leaving us unsatisfied. I have to say that "Di Masabi" is a Gary Granada song published and released years ago. In fact, this is even sung at some parties or karaoke events. It wasn't written for "Emir". This bucks the claim that songs from the movie were all originally written for this project. “Ba’t Ako Naririto” is an anthemic song that beautifully weaves the whole narrative string together, and once again, Frenchescka completely owns it up, and breathes life into what would be an OFW’s theme song. The fragmented quality of these songs owe it to the different composers who contributed for the movie.

When the narrative zeroes in on Amelia’s relationship with her royal ward, I sit up and watch intently. There was excellent choice for the 12 year old Ahmed – perfectly played by Mahdi Yadzian Varjani. He is princely - and he commands a captivating presence, especially when he speaks his smattering of Tagalog: “Ayoko, di ako nauuhaw”; "Sana, hanapin na tayo ni Daddy” or “Pwede po ako maglaro?” It tugs heart strings hearing them from a foreign tongue. Unfortunately, their yaya-alaga relationship is underdeveloped, even when we find them scampering for safety during the siege of the palace - or when they eventually got lost in the Moroccan desert.

Mahdi Yadzian Varjani: perfect choice, charismatic neophyte.

The film offers scintillating photography of north Africa (Marrakesh) as well as the Ilocos region, and this excellent camera work helps us bridge gaps in a loopy story. When Amelia and Ahmed were on the run at the treacherous deserts, the Sheik ordered his people to seize and rescue the boy. Weren’t the rescuers told that the boy was under the tutelage of a faithful servant? How dare they leave Amelia alone in the desert when they could have rescued both since the bad guys were not in sight. Twelve years of loyal service – and she is left to desiccate in the harsh desert, rudely left to wonder whatever happened to her “alaga”. Napaka inutil naman yata ng employers na ito not to consider a loyal servant's security. We couldn't help but question the pretense of affection when the Prince decides to visit his yaya one day in the future. No letters, no official news. Just fast resolutions.

Otherwise, there would be a less dramatic arc to conclude it, right? We do love happy endings, but happy endings don't make real stories. We also admit to shedding a tear when Ahmed is found alighting from his limo in far Ilocos to call the attention of an older “Yaya!” It’s the melodramatic soul in us. But when I got back to my car, it felt like a Star Cinema production. Mainstream storylines with fast resolutions and happy endings.

I respect the itinerant Pinoy. It isn’t easy to leave your country and live the life of a 3rd class citizen for the sake of a hungry family back home. But I feel that it is unfair to think less of the Pinoys who opt to stay in this country. Are we really less of a hero for staying on with the “sinking ship”? Are we less noble for not enduring the lonely life overseas? Our concept of what's a modern-day hero is an obvious departure from the world’s concept of courage, fortitude, nobility. Heroes stay on to persevere. Heroes think of the common good, not a limited subset of people.

Choreographic clutter.

Sheik who would be king and his wife.

Finding Ahmed.