Bona Fajardo's Iliw - Love in the Time of War

There was something very gratifying watching Bona Fajardo's "Iliw" (Nostalgia). For one, I felt like my admission fee was money well spent. The scenography was breathtakingly well composed and the picture sparkled like this was made yesterday. Some portions may seem like a glorified slideshow (with static images flashing one after the other) it was a cinematic artifice: ill-advised, but nevertheless valid. Its superlative  cinematography justifiably evokes a far-gone era that deserves pragmatic remembrance. After all, cinema is a visual medium and telling a good story should start with good visuals; and this boasts of a keen eye that complements its gripping narrative..

STORY

The story is alternately set in Ilocos and Baguio in 1939. An impending Japanese occupation is about to change the life of strong willed Fidela (the lovely Kaye Abad) who decides to move from Vigan to Baguio, rather than succumb to the romantic advances of childhood friend Pablo (Ping Medina). When the Japanese finally arrives, Fidela's father is whisked off to prison, suspected of treason by the watchfully distrustful Japanese Imperial Army. A chance encounter between a high ranking Japanese officer, Col. Takahashi (the good looking Hiroyuki Takashima) and the desperate Fidela changes both their lives forever.

Romance is at the heart of this story - how the couple defied expectations of a very conservative society. It was an era of obstinacy and caution. Their intention to stay together becomes a dilemma, but I truly understood Fidela (not only was Takahashi endearingly goodlooking, it would also spell security for her family). Marriage is out of the question since Japanese officers have been restricted from any formal commitment with locals. Never sleep with enemies, as they say. The locals were understandably hostile subjects. Filipinos were underlings and subordinates; Filipino women were mere sexual doohickey. Ask the comfort women.

Regardless, real love would have pushed Takahashi to actually marry Fidela. After all, the Japanese commander's best friend was Father Josef (Gian Sotto). He could have asked the priest to perform the matrimonial ceremony within the hushed confines of the church. Living with Fidela conveniently exposed her to malicious calumny and scorn. This makes Takahashi's intentions suspect; thus painted his character as a predatory scoundrel, instead of the dashing paramour that's romantically intended for his character.

Kaye Abad and Hiroyuki Takashima are a perfect pair as the narrative's star-crossed lovers, although with Takashima's high rank position as colonel of Vigan, he could have easily bucked the system, unless the Imperial Army had "internal affairs" then. This was a time of war when everything was possible. He was lord of the manor so what's with all the crap reducing Fidela to a mere bed-warmer?

I have scruples with some of the casting choices. Ping Medina doesn't quite cut as the suave boy next door who's pining for Fidela's affections. Medina looked awkward and floundering. In the past, Medina has personified the rough and rugged everyman that picturing him otherwise was far from fetching. Irma Adlawan, playing Fidela's mother, makes the most of her limited screen time and though she could have been perfect, she mines her every scene like it was her awards-ceremony clip. Magnifying emotions tend to lend mediocrity to a cinematic moment because the scene transforms into caricature. I'm referring to 2 particular scenes: the opening where she's supposedly "aligaga" preparing for a party; then the scene where she kneels down the ground crying her little heart out for the "death" of her son Santiago. This eager beaver attitude is perfect when you're the lead in movies like "Sa North Diversion Road" or "Mga Pusang Gala"; not in elegiac movies like "Iliw".

Released at a time when digital film making was still making its baby steps in the country, "Iliw" provided a fully realized scenography. The Vigan scenes are luscious; the spirit of the past is gloriously captured (although some shots have been overly saturated - Pablo bicycling around town). Some scenes are also abruptly cut or unceremoniously fades (scenes at the first half of the movie) making them seem like theatrical montages. Then there are side stories that somehow stray away from narrative focus, veering away from the romantic narrative; e.g. what good does it do to expound on the death of Fidela's brother? Does it render anything more than blur what should be the main plot?

Despite these trivial notes, "Iliw" compels you to travel back into a time of strife and rumpled romance. Beautiful scenography, empathetic leads, and the crowd-pleasing use of Imago's "Sundo" as the credits roll - they all pony up for a great time at the cinema.

Irma Adlawan plays the heroine's mother: Bad theater habits.

Mayohan - Tender Tales of Youthful Summers

Little did teenage boy Nino (Elijah Castillo) realize that forgetting his cell phone would be the least of his worries as he travels with his Aunt Marta to Infanta, Quezon. For a month, he will witness how a little town prepares to celebrate Mayohan, a yearly festivities celebrating the impending harvest, as well as the intercessions of the Blessed Virgin Mary.

Nino meets Lilibeth (Lovi Poe), a lucent town beauty who is the appointed "presidenta" assigned to oversee fund raising ("ambagan") to finance the "tapusan", a town ball that culminates Mayohan where the prettiest lasses are invited to dance with the town's gentlemen. Lilibeth's task is no mean feat. She needs P20,000 for the whole production, and she is roaming every nook of the sleepy town to succeed. Despite appearances, Lilibeth finds the deed as her final obligation for her birth place. She's in fact itching to head to the big city, to leave Barangay Libjo and continue her studies in Manila. Nino, on the other hand, sports a limp. He survived a vehicular accident that took the lives of his parents. In the trappings of his convalescence, Nino is enamored with the incandescent 19 year old Lilibeth who has offered him friendship: feeding him the delicious "binagkat"; taken him around town over rice paddies and streams, etc.

But could Lilibeth be running away from something? Will the "Tapusan" be as festive as it was before?

In the simplest, almost ruminative narrative strokes, Dan Villegas' "Mayohan" (Maytime) reminds you of the warmth and tenderness of your first crush; the facile bliss of lazy laidback summers when time was innocent and smiles were unadulterated joys. Paul Sta. Ana's ("Slow Fade") script mines the the mores and tradition of Infanta, from the "binagkat" to the sabaw ng tinipay; from the "padasals" (novena) to the "tapusans"; brushing into the story humorous "little town whispers" like why the very handsome mayor's first dance at the annual event is always with the town's ugliest girls; on the perceived virginity of barrio lasses. Each little bit brings a smidgen of smile.

Lovi Poe is luminous all throughout (thanks in part to the brilliant cinematography) taking her character Lilibeth with edifying intuition. It's quite palpable why young boys would fall for Lilbeth. Elijah Castillo ("Pepot Artista") does well as the limping Nino from whom the perspective of the story is being told. He innocently follows Lilibeth around until he realizes his growing infatuation (he gets drunk from his Tito Ruben's lambanog or coconut vodka). Ping Medina as Ruben (Nino's girl crazy uncle) suits up adequately as the town's lothario, dispensing adult advises on hooking up with women. Dan Villegas' coming-of-age tale may initially suggest the poetic lyricism of Katski Flores' "Still Lives" but as the film moves to its curtain call, it becomes clear that director Dan Villegas' light and lucid story telling is an unabashed original and a breath of fresh air with a distinct voice all its own.

Luminous Lovi Poe