Chris Martinez's I Do Bidoo Bidoo - Rousing and Joyful

Rocky Polotan and Tracy Fuentebella (Sam Concepcion and Tippy Dos Santos) are a young couple who enjoy a loving relationship. But when the latter finds out that she’s pregnant, they instigate a maelstrom of affliction that places both of their families in a quandary. While Tracy’s folks flounder in their affluent milieu, Rocky’s parents are persistently burdened by incoming bills. Pol (Ogie Alcasid), Rock’s father - a musician who has a single hit song to his name – subsists by giving guitar lessons to the children in his neighborhood. He’s mostly frustrated and uninspired by his misfortune. Rose (Eugene Domingo), his wife, struggles with her catering service.

The day the Polotans visit the farm villa of the Fuentebellas for the “pamanhikan” (asking for Tracy’s hand in marriage), the rudely gaping social discrepancy between the two families becomes painfully apparent. While Tracy’s dad Nick (Gary Valenciano) seems to calmly take everything in stride, mom Elaine (Zsa zsa Padilla) is conflicted. She sees a vicious cycle in her daughter – and she doesn’t want Tracy “to feel trapped in a loveless relationship”. At least wait until you’re older, she suggests. But the repercussions of having a child out of wedlock is a nagging concern for the Fuentebellas, and a stigma they’d rather spare Tracy from. “Atin ang babae,” Nick would reason out. Though Rocky is a board certified nurse, he is unemployed just yet. And Tracy’s strait-laced grandfather (Jaime Fabregas), a former military sergeant, isn’t compelled by tact or false civility to keep his thoughts. Over lunch, he unravels them. He does not want Tracy to wed Rocky who does not deserve his granddaughter.

Soon, insults are thrown around and fisticuffs ensue. The Polotans walk out with contused faces and bruised egos. Rocky and Tracy’s impending wedding is unceremoniously called off. What becomes of our star-crossed lovers? Is there happy-ever-after in a musical narrative? Guess.

Syotang Pa-Class

Doo Bidoo

Writer and director Chris Martinez concocts a delectable Romeo-and-Juliet tale by sumptuously utilizing the music of Apo Hiking Society. This cerebral exercise is so meticulously formulated that the songs of a generation – so familiar that they’re almost prosaic, seasoned, and common place – suddenly gain context for a new generation of music lovers. In fact, these songs feel like they’ve been written for the given narrative. Moreover, you cannot deny the timelessness of these musical ouvre. You further realize that these were a few of the songs hummed to you by your father; hymns of a lifetime once played on vinyl records now safely tucked away in some decrepit basement.

What’s more impressive is how Martinez is able to exquisitely insinuate contemporary issues into his seemingly mundane musical romcom: unemployment and the diaspora of the modern immigrants (“Blue Jeans”: Sige kayod sa skwela at balang araw makikita nyo. Pagkatapos ng iyong paghihirap, ‘Di ka rin makakahanap ng trabaho); teenage pregnancy (“Batang Bata Ka Pa” – Nagkakamali ka kung akala mo na ang buhay ay isang mumunting paraiso lamang); class wars, homosexuality (“Mahirap Talagang Magmahal ng Syota ng Iba”), etc. “Blue Jeans” is particularly surprising because the concerns of the 70’s vividly resonate almost 40 years later. It makes you wonder if the lives of that generation aren’t all that different compared to ours. Why do we have similar concerns? Have social conditions deteriorated since the turn of the century?

Sam Concepcion sizzles with an earnest performance that bristles with charm, pathos and urgency. Most singers would have trouble with cinematic emotions, but impassioned Concepcion hits all the right notes! In fact, it’s hard to consider this anything less than a career high. Tippy Dos Santos is a great cinematic find. She’s easy on the eyes, sings like a lark, and tempers her lines with adequate verve and emotive skill. Ogie Alcasid shines in a surprisingly restrained turn. I’ve never considered him in dramatic light, but Alcasid is a revelation here. When he utters: “Kinahihiya mo na lang ako lagi” or “Lahat tayo, kailangan ng inspirasyon sa buhay”, your heart crumbles with palpable affection.

Zsa zsa Padilla utilizes her pent-up frustrations here; a career-best. What I admire most is how consistently she tackles Elaine, a long suffering wife eternally patient and hopeful in a loveless marriage with a hubby who mostly ignores and disdains her presence. Her sedulous take of her character is nothing short of brilliant, and her singing is impeccable. In fact, her “Tuyo ng Damdamin” rankles with regret, you just want to whisk her off her agony. Eugene Domingo balances her fretful Rose with intermittently biting lines that sent me chuckling so loud. We all know someone who nags like that: “Default mode nya yan. Laging galit!” Gary Valenciano is a little tentative with his characterization. He defines his portrayal  with large strokes fit for music videos. Fact is, this is his comeback film after almost 20 years of cinematic hiatus. Fortunately, he enjoys good chemistry with Padilla, so that's a plus!

Awit ng Barkada

I do have issues about using non-singers in singing roles, but Eugene Domingo more than passes muster, although she could have done a wee better in her “Di Na Natuto” duet with Alcasid. After all, paying homage to the songs of a generation includes singing these songs beautifully. When, Dame Judi Dench, for example, performed “Send in the Clowns” for her role in Sondheim’s wistful “A Little Night Music” at the Royal National Theatre in London, it was heartfelt, but I helplessly looked for the beautiful melody. Melodies deserve to be sung as they were written, not recited into a half-song. Anyway, Dench won the Olivier that year. Domingo is clearly inspired, and it shows. Her “Awit ng Barkada” number with Frenchie Dy (as BFF Lilibeth) and Sweet Plantado (as BFF Vicky) was a touching tribute to friendship, I had to control myself from shedding a tear because – heck! – the scene wasn’t schmaltzy! But you see, beautiful numbers just make me cry (dramatic or otherwise).

A considerable, albeit bittersweet side story involves Neil Coleta’s Brent, Rocky’s closeted best friend who’s in love with him. Though his scenes inadvertently provide humor, you can’t help but be taken by Brent’s emotional impasse. This narrative string is so beautifully written, it deserves a separate movie of its own. In fact, I am urging all the Pink Film makers to turn their attention to this film for inspiration! This short narrative detour amounts so much more than all of the Pink Films shown in 2011 combined! It is funny, empathetic and insightful. It doesn't paint the gay man as hormonal, albeit sexual predators possessing the brain of a Hydra! An important scene here involved John Lapus shedding a tear while Coleta dedicated his “Kaibigan” song to Rocky – at a videoke bar! This understated and wistful vignette was a perfect finishing touch to a cinematic Mona Lisa. It was just beautiful!  

The narrative isn’t seamless. It’s guilty of “fast resolutions” common in romcoms. It could have invested a little more time to write the gradual resolution or settlement to Rock and Tracy’s dilemma, but then I understand the limitation of time allotted for such flicks. In fact, I think I saw “Paano” in the credits, but the scene involving it didn’t make the final cut. Needless to say, one of my favorite numbers was the “Blue Jeans” dance routine involving a huge crowd in La Salle Dasmarinas. It was just kinetic, and reminded me of some scenes from Jeric Soriano’s “Hotshots” (which also starred Gary Valenciano).   

HOW APO DEFINES FILIPINOS TO OTHERS

We are a very musical nation. I remember my traveling cousin relate an anecdote about a Canadian backpacker he met in Vietnam last February (2012). The Canadian guy has a Filipina girlfriend who would take him to karaoke nights with fellow Filipinos in Vancouver. His favorite: “Ewan”! And just before my cousin could dismiss this as pure hearsay, this white man suddenly lurches into “Mahal kita, mahal kita, hindi ‘to bola…” This is a guy who doesn't have clue on who Danny Javier, Jim Paredes and Buboy Garovillo are. Yet their musical legacy encompasses race and geography. Who can say that the APOs are mere historical anamnesis? We deserve our songs encapsulated and documented in films like “I Do Bidoo Bidoo”. These songs tell our stories, and we can only be grateful for the endless pleasure they bring.

Chris Martinez’s “I Do Bidoo Bidoo: Heto nAPO Sila!” is a mirthful musical masterpiece that’s as rousing and hopeful in temperament and narrative exposition as the songs and stories of our lives. It deserves the patronage of every music-loving Pinoy. It should not be missed!  

Trading aphorisms in "Salawikain". Lalalalalalalalalalalalalala...

Contemplative Elaine sings "Tuyo ng Damdamin".

Songs featured in the movie:

1. Pumapatak na Naman ang Ulan - A recurring tune and Pol's one-and-only hit song!
2. Doo Bidoo - Cheerful number involving Ogie Alcasid and her guitar-carrying wards.
3. Syotang Pa-Class - In an exquisitely choreographed basketball dance, as Rocky describes Tracy, his syotang pa-class, and why he loves her.
4. Awit ng Barkada - Hilarious friendship song with Eugene Domingo, Frenchie Dy and Sweet Plantado
5. Panalangin - In a phone conversation at in front of an altar in a a rundown chapel.
6. Tuyo ng Damdamin - Elaine's contemplative scene comparing her daughter's situation from her own past.
7. Mahirap Magmahal - Coleta's song for his sleeping best friend on the day of their "pamanhikan".
8. Salawikain - Wonderfully choreographed "war at the dining table" scene during the "pamanhikan".
9. Nakapagtataka - On the night after the Polotans storm out from their "pamanhikan".
10. Batang Bata Ka Pa - A four-way song for the heart broken Rocky and Tracy. Rose and Nick join them.
11. Blue Jeans - A buoyant song and dance number at Rocky's university. Sam Concepcion, Neil Coleta and a huge cast dance up a storm.
12. Kaibigan - Brent's ode of affection for the grieving Rocky. John Lapus makes a short but memorable cameo.
13. Huwag Masanay sa Pagmamahal - Used in the closing credits.
14. Ewan - A playful and affectionate duet when Rocky and Tracy reunite.
15.Di Na Natuto - In a adorable scene that helps define Rose and Pol's relationship.
16. Pag-Ibig - Nick tells Elaine to stay with him.
17. Kabilugan ng Buwan - Lovers eloping.
18. Paano - Nick asks Elaine to stay. This isn't the Gary V. hit, but a less popular APO track.

Tracy's gone and the Fuentebellas react.

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.