Jose Javier Reyes' Mga Munting Lihim - Acrimony and the Ties That Bind

Mariel and Carly (Judy Ann Santos and Iza Calzado) have been inseparable since they were little girls; they might as well be sisters. As adults, their exclusive circle has grown when Sandy and Olive (Agot Isidro and Janice de Belen) decided to join them.

Carly (Calzado) is a prosperous, albeit ball-busting lady executive who gets whatever she sets her mind to. Despite her triumphs, Carly feels incomplete. Her view on most things is met with apprehension and she jadedly believes people have unflattering motives for the things they do. In fact, when a relative asks for help, her thoughts would meander: “May mga kamag-anak ako, pero walang pamilya.” More than anything, she’s envious of her friends for having started families of their own. Meanwhile, romance seems to keep its distance from her.

On the other hand, Mariel (Santos), with feet firmly planted on the ground, is happily married to Vince (Roeder Camanag) - with children to boot. Her life is so domestically chaotic, she frequently bemoans her hectic routine and the absence of personal space. She hasn't even been to nearby Hong Kong because more urgent priorities always supervene. Sandy (Isidro), who’s eternally and intentionally late for their soirees, is married to a filthy rich geriatric. She doesn’t waste time flaunting her designer wardrobe and her jetsetting lifestyle. Olive (de Belen) is married to a much younger guy whom she met from a chatroom. He now works in Dubai, so money is occasionally scant. Though the girls occasionally squabble and annoy each other, they all manage to thrive in their respective domestic anarchy.      

SPOILERS

One day, Mariel drops a bomb. She has pancreatic cancer, a proverbial death sentence in most cases. This brings the friends closer than ever. But when Mariel eventually dies, she leaves a box full of journals. And she has tasked Carly to peruse through her entries – entries that contain her deepest thoughts about each of her friends; entries that reveal specific moments in their lives, underlining the weakest links in their relationships: like when Mariel had to clandestinely sequester Eman (Gino dela Pena) from Carly, just to prove that Carly does not always get everything. Sometimes, these friends aren’t always emotionally supportive: they tell thirty-something Olive that her 21 year old chatmate (a former actor) is a “kabit ng bakla”; that she never pays what she owes - and even lies about them. Carly muses that Olive isn't the smartest girl. And they even conclude that Sandy’s marriage to an older guy was merely for convenience, inferring that Sandy’s an inveterate gold digger. What’s happening here? With friends like these, who needs enemies? More importantly, is this friendship even worth keeping?     

Mariel

Carly

Olive

Sandra

It is instructive how scriptwriter and director Reyes is able to delineate his characters with luminous contrast. Mostly, it’s thanks to the intuitive performances of Santos, Calzado, Isidro and de Belen. Iza Calzado confidently glides through the cinematic palette with persuasive charm. She reminds me of Bea Alonzo’s character in “Sa Yo Lamang” – the iron butterfly with an emotionally-charged back story. And why not? She lost “the one” who could have given her happiness – from her deceptive best friend. Judy Ann Santos’ role is surely a walk in the park for the effulgent Santos who doesn't succumb to the theatricality of Mariel’s situation. She displays adequate control of her emotions, avoiding mawkishness. Agot Isidro is venomous without being irritating, while Janice de Belen is compelling. And it is high time de Belen, one of our better actresses, graces our celluloid dreams once again. A regular date with the treadmill would have her in perfect form.

INABILITY TO CHOOSE

While it is true that the four actresses provide a variety of clamorous and symbiotic emotional landscape for this narrative, it is also clear that Calzado and Santos’ roles weigh more than their co-stars. It is thus ridiculous not to be able decide and pick a single “Best Lead Actress” from the four actresses. Iza Calzado stands out from this amazing ensemble. What I’m saying here is, giving the Best Actress and Supporting Actress plum to the four actresses is a cop out – and the product of lazy or inferior minds. It’s a matter of discussion among the Cinemalaya judges to peel through the individual aptitude and merits of each actress. Kaya nga contest para may isang mananalo... then we end up with FOUR winners for TWO categories! If this isn't ridiculous, then it’s hilarious!

IDIOCY vs GENEROSITY - CINEMALAYA'S INEPT JUDGES

The awarding ceremonies of Cinemalaya have always been sketchy. Jim Pebanco won "Best Supporting Actor for "Patikul", remember? Ina Feleo won Best Actress for whatever role she played in any Cinemalaya entry. Heavens, where has delicadeza gone, amigas y amigos? Next thing you know, sister Ana Feleo would headline another entry - and win an award! We then have one award-winning happy family, don't we?

Back to the topic at hand, we have 4 winners for Best Actress and Best Supporting Actress. Does that make sense? Once upon a time, people used their cognitive functions to choose one that's best among the rest. After all, "best" usually denotes a singular presence or entity, NOT FOUR! People used to "boo" at contemptible ties during awards night. Remember Sharon Cuneta and Nora Aunor sharing the award? How do we react to an atrocious FOUR-WAY tie spread between two categories? More importantly, what's the need for judges if they can't even decide on a singular winner? The world is sometimes full of lazy minds, isn't it? Next year, they should open up the categories to Best Actresses, Best Actors, Best Pictures. We've opened the flood gates of generosity, anyway. Let's all be generous and give everyone awards. Para masaya, debah?

Back to the movie, the pacing of the story is brisk, and the editing (by Vanessa de Leon) is dynamic. The atmosphere is bright and breezy, unlike most movies that deal with mortality. Among the Cinemalaya entries, Reyes’ “Mga Munting Lihim” (Those Little Secrets) is the most accessible for mainstream viewers. In fact the sensibility of the film is too far removed from what we perceive as "indie" fodder.

I also have to mention the participation of former Survivor castaway Gino dela Pena who captivates with his short, but attention-catching cameo as Eman, the “man that got away”. Dela Pena maybe tentative at times (it's his film debut), but there’s no denying his strong screen presence. More of Gino, por favor!       

Director Jose Javier Reyes fills his plot disclosures with a hundred and one acrimony. Some issues leave you with mouth agape; others leave you laughing hard on the floor. Countless times, you weep like a baby. Such is this cinematic dilemma. The narrative is a roller coaster ride of emotions filled with insightful situations reflective on your own relations. You find situations that are easily identifiable among your own group of friends. This makes the viewing so much entertaining because of its "participatory" characteristic.

On point of logic, revealing the unpalatable details of Mariel’s diary seemed pointless. Intimate thoughts of a dearly departed friend should never create dissension among the living. The act itself is counter productive. People should never dwell on the negative aspects of their past. Besides, which friendship is free from altercation and disagreements? Moreover, isn’t it clear that despite their differences, they still end up lending hand whenever one of them needs it? You may not always agree with each other. You may scoff at their choices. You may cringe at their manner of deduction and call them simple-minded. But you will always pick them up when they stumble. That is the magic of friendship.  

The revelations

Iza Calzado, Judy Ann Santos, Agot Isidro and Janice de Belen.

Gino dela Pena invites you to his table. Where do I queue? :)

Gino dela Pena: Captivating!

I'd prefer this more apropos theatrical poster over the more commercial one they are using in cinema lobbies.

Way Back Home - Crying Your Hearts Out of the Cinema

I have a secret. When watching a movie, it doesn’t take much for me to shed a tear. I’m Holly Hunter’s Jane Craig (“Broadcast News”). I could outcry Roxanne Barcelo (Pinoy Big Brother) or any of Kim Chiu’s teleserye personas. Any hint of an emotional strife in a story, I easily employ my lachrymal glands for catharsis. Crying feels good, and even better when my boyfriend watches a movie with me. Men seem to adore me more when I sob and turn to their bulging muscle-bound shoulder for solace. When Jerry Lopez Sineneng’s “Way Back Home” came to the fore, I knew I’d be in for some orgasmic marathon-style crying.

When little sisters Jessica and Joanna (Julia Montes and Kathryn Bernardo respectively) join their parents for a beach outing in Zambales, the younger Joanna wanders off and is never seen again. For the next 12 years, Amy (Agot Isidro), the girls’ mother, is inconsolable. She stares into the great beyond, hair beautifully coiffed, garment immaculately pressed. The mere kink, i.e. losing a daughter, in her charmed existence has taken its toll on Jessica, now 16, who carries the burden of having lost her little sister. She overachieves in school with the hopes of gaining her dear mother’s attention, but all her effort is for nought. One day, during a swim meet where Jessie is to compete, Amy hears a young girl Anna (Bernardo) singing a lullaby (Francis Salazar’s “Langit”) at the ladies room; the very same song Amy used to sing to her little Joanna. The song made her suspend her bowel movement. You would if you suddenly found your lost daughter, wouldn’t you?

During the swim meet, Amy instead roots for Anna who eventually wins the championship, all the while ignoring Jessica who settles for second place. Amy runs to Anna’s side and without much batting an eyelash, declares, “Joanna, naalala mo ba ako?” Anna is nonplussed and bewildered. We don't blame her. There’s this labile woman – with beautifully coiffed hair, garment immaculately pressed – claiming her. Anna returns to her seaside home, in a fishing village where her loving, albeit impoverished family subsists on the bounties of the sea. She then asks her mother Lerma (Lotlot de Leon), “Ba’t po wala akong kamukha sa inyo? Anak n’yo po ba ako?” ("I don't look like you. Am I your daughter?")

Anna eventually and reluctantly joins her affluent birth family, while Jessie is beginning to harbor ill feelings against her returning sister who’s enjoying her mother’s favors and attention more than ever. She detests such injustice – and the story turns into florid teleserye melodrama clutter. What becomes of saintly Anna who’s constantly getting brushed off and blatantly embarrassed by her elder sister? Will she ever find her, err… way back home? Guess.

There is meretricious theatricality on display and you can’t escape the narrative maneuverings designed to inspire some old-school whimpering. I must have cried a bucket. Unfortunately, it gets too obvious that such manipulations have resulted into a contrived and unctuous yarn lacking discernment.

On point of performance, Julia Montes fares better than pretty Kathryn. Her depiction of a conflicted Jessie is insightfully threshed out despite unfair caricature as it's written. She’s the bitter and vindictive sister. As she spews out her venom against saintly Anna, you absolutely understand why she’s cantankerous. That we don’t find her a despicable creature altogether is a testament to her ability to allow us understanding of what her character is going through. That she doesn't come off silly or caustic is a marvel. And that’s a feat!

Kathryn Bernardo is a charmer, she lights up the screen when she smiles. Unfortunately, Anna is written on desultory wisdom. Her whole being is nothing but a komiks heroine not dissimilar to those written by Nerissa Cabral and Gilda Olvidado, i.e. unnaturally good natured she would put some saints out to pasture. If you believed her kindness is reality-based, then you’re as naïve as, say, KC Concepcion. (wink wink)

There are bothersome parts of the story: Agot Isidro takes a meaty role as grieving mother Amy, yet 12 years is such a long time for bereavement. When it happens, such melancholic state should underline a clinical pathology. People who can’t cope should manifest in their manner of dressing, in their sleeping habits, in their general appearance. Agot, for the most part, looked ready to walk the runway. Even when she screams, which is awkward, her action feels deceitful. You don’t feel her pain, but you see her lurid facial contortions. Her character grasp is too loose to derive sympathy. This is what theatrical experience taught her? And what are the odds of finding your lost child in a swimming contest? Moreover, that this particular child still sings the same lullaby that was once taught her as a three year old. Serendipitous affairs can only go so far in the natural scheme of things.

Then there's this lump-on-the-throat idea that Montes and Bernardo (as Jessie and Joanna) are actual sisters. The purview of such all-encompassing artistic freedom to make them blood sisters is too far fetched. It is more believable to quaff Montes as Lotlot's daughter. After all, both Lotlot and Kathryn have Caucasian blood. Otherwise, we heavily rely on suspension of disbelief with the narrative at hand.

The movie is beautifully photographed (Julius Villanueva); the screen glistens with postcard-pretty locations and sanitized camera work. Even the derelict kubo (hut) in Anna’s fishing village looks like a little piece of heaven. One is reminded of Romy Vitug's work back in the days. Enrique Gil registers well, his “fish jokes” provide momentary diversion but it also dispenses unnecessary off-kilter detour to an already overwrought narrative. Ditto Sam Concepcion who plays AJ, Jessie’s love interest (a character that pays homage to AJ Perez). Lotlot de Leon brandishes a perceptive, if a tad underwritten part as Joanna's adoptive mother. And I like Ahron Villena who plays Joanna and Jessie's brother (he looks so clean and good looking).

DISTRACTIONS

Since we’ve mentioned about distractions, let me just point out the character of the maid who’s made out to be a Visayan character. Though she was designed to provide humor to this sullen story, she was distracting and downright annoying. We have had Visayan maids yet they never speak like she did, exaggerating every syllable with quasi-delivery and hard syllabication. Let’s take the following examples: People in Visayas and Mindanao pronounce “tulog” (sleep) the same way. It doesn’t become “to-log”. They say “ligo” (bathe) the way Tagalog folks use it. It’s never “le-go”. “Three” is never “tre” which is exaggeration spilling over. Other words: “pizza” as “pet-sa”, “evening” as “eb-neng”, “kuya” as “ko-ya”, etc. I wanted to practice my dart target shooting every time that maid appeared on screen. Supporting characters are supposed to strengthen stories, not provide annoying distractions. Whoever thought this was funny should be fed to the giant ants of Madagascar.

Another distraction was Angeline Quinto’s faulty elocution while singing Odette Quesada’s “You’re My Home”. It goes: “You’re my home, and together we share this love for us… You’re my home and together we’ll strive to make this world a better place to be.” If felt like needle pricks every time she would repeatedly lash out “to-ged-der” with inspired bravado. It’s a “th”, girl – not “d”. There’s a difference.

For those partial to their Pink Films, there are a couple of characters that would tickle their fancy: Josh Ivan Morales of the notorious “Ang Lihim ni Antonio” does a cameo as Tiyo Dado, Anna’s “uncle” (mother Lerma’s brother). Ray-an Dulay (“Kambyo”, “Ang Laro sa Buhay ni Juan”, “Ben and Sam”) also cameos as Anna’s adoptive father Berto, though he’s been relegated to flashbacks. This is a heads up to the men who made their cinematic splash from exploitative gay-themed films. Director Sineneng surely has an eye for such studs. These may be bit roles for Morales and Dulay but they render their profession legitimacy and provide avenues for future mainstream appearances.

Bernardo and Montes have a bright future ahead of them. They are watchable and hold such promise. They could be the next big thing. But longevity in the business doesn't rest on mush and sentimental schmaltz. I may have cried buckets over such clutter, but those tears would have evaporated long before the next promising stars make their mark. They could do better with non-manipulative stories and perceptive directors.

Sam Concepcion as AJ, Julia montes as Jessie, Kathryn Bernardo as Joanna, Enrique Gil as Michael.