John Paul Su's "Toto"- The U.S. Visa as Measure of Success

Toto (Sid Lucero) has but one dream - to go to America. So he's turning every rock to find the means to get there. But the American visa is a huge stumbling block. It doesn't help that the amiable hotel bellhop has very few treasures to show at the embassy. His checklist is a tall order: a rich family, a fat bank account and the steadfast resolve to hurdle every rejection. Now where can he acquire the aforementioned?

Toto's prospects aren't promising. His head is up in the clouds, barely looking over his shoulders to realize that his girlfriend Tessa (Mara Lopez) and best friend Yam (Thou Reyes), who both harbor feelings for him, are conveniently being taken for granted. But this is his "show", not theirs, so he's all too willing to dance to the popular tune, the "Macarena", no matter how cheesy it is, to find his place in the American sun.

On the side, Toto peddles pirated DVDs and postures like Tom Cruise. He meets Eve Porter (LIza Dino), a fil-am guest in the hotel where he works, who accepts his marriage-for-convenience proposal, But it will cost him. Another guest, David (Blake Boyd), a gay businessman from Texas, becomes an unexpected mentor and friend. But even the best laid plans don't always turn the way we want them to. 

John Paul Su's "Toto" is a comedy of manners, though this time it zeroes in on the working class. Many stories have been told about the much-vaunted American dream. Heck, even Cameron Mackintosh's "Miss Saigon" (recently screened in SM Cinemas nationwide) sang-and-danced for it. Bela Padilla's more recent "I America" was screened at the Cinemalaya with very similar story and setting, it even has Thou Reyes playing another gay friend named Whitney! 

THE AMERICAN DREAM

People dream for different reasons although most Filipinos do it for the opportunities they present. Economic and financial security are, after all, as basic a need as breathing air. Sid Lucero, in an Inquirer interview, mentioned that he dreams of just flipping burgers, feeding people and surfing - that's his piece of the American dream. I don't have an American dream. I may be as colonial in manner and sensibility, but my heart lies in this archipelagic mess. This takes me to the wayward ideation that getting to America is, by itself, a measure of success. Babaw huh. Filipinos should put a lid on this and readjust their criteria to something more substantial. Your stepping on American soil does not automatically make you the epitome of success, but a mere statistics of migration.

This exactly is the reason why I am hardly fond of movies with such themes. Opportunities are available right within our shores. You don't need to go to, say Hong Kong, earn P7,000 a month as a domestic helper, and call yourself an achiever, do you? Propagating the mystic of migration does a disservice to the talent of the Filipino. Despite all these, the diaspora continues.

"There is desperation all over, but one tendered with glee and enthusiasm.

"Toto" makes the journey to acquiring a visa more upbeat, and Sid Lucero does a great job depicting the resolute spirit of the Filipino dreamer. There is desperation all over, but one tendered with glee and enthusiasm. This is the Filipino's penchant for seeing the silver lining in the midst of misfortune and apathy. Doing Toto is like walking on thin ice because it is a crucial balancing act. Besides, Lucero once admitted that he isn't too crazy about slapstick comedy - or just comedy, in general. Thou Reyes is adorable as the protagonist's gay best friend who would rather go behind bars than see Toto fail. In some ways, he mirrors what true love is all about, i.e. that sacrifices are part of the package. Reyes is insightful, vulnerable and funny. 

COMPANION PIECES

I saw this movie last year at the Indie section of the Metro Manila Film Festival. I wasn't over-the-moon then, but I wanted a second viewing this time so I could place it alongside "I America" which is one of the better outputs from this year's hundred-and-one film festivals. Both movies are a companion piece. Robin Padilla's "La Visa Loca" (2005) is a distant cousin. I may have readjusted my perceptions about it but I am of the opinion that stories like these should be given a rest. Make no mistake, Director John Paul Su's movie is well made, adequately paced, entertaining and has great performances all around. But the subject matter is a bit of a pickle.

In my book, getting an American visa is a mere procedure and doesn't deserve a parade. Or a whole movie for that matter. More importantly, stepping on American soil is not a measure of success, and shouldn't be celebrated as such.          

Toto, Tessa and Yam share more than friendship.

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

"Muli" - Nothing But A One-Way Road to Affection

If you’ve been reading my blogs, you would already be familiar with two names that frequently crop up here - supporting characters in my film-watching adventures: my friends Kyle and Iya. They frequently join me in my cinema adventures. Though we’d have fun night outs together – three of us, it is seldom that I get to take both of them with me in one movie. Iya and Kyle have been with me since high school, way through college. Kyle (who’s the cutest gay guy I’ve ever laid eyes on - and he's been approached by several to do commercials) would take me with him when there are gay films and those god-awful Pinoy indies being shown. Iya, my "sister" during shoe shopping haunts, joins me in Hollywood blockbusters and english films when she doesn’t have a date with her Topher. My mom (sometimes my dad, along with my brat of a brother – “God’s gift to girls” himself) would take me to mainstream Tagalog films. As you can see, I get to cover most of whatever is shown on commercial theaters. Thus makemeblush was born to document them!

But Adolfo Alix’s “Muli” succeeded the impossible. It drew Kyle and Iyaya and me to the cinema together, and I am almost thankful to Mr. Alix for this one-in-a-lifetime event! Or should I?

Cogie Domingo and Sid Lucero play once-a-year lovers Errol and Jun, respectively.

Capsule

Jun Bernabe is an ex-seminarian who teaches in Baguio City. It’s 1968 and he inherits an “inn” from her mother. Aside from running the guesthouse, Jun belongs to a local communist group that follows stringent rules about their ideology, as well as their lifestyles (governing even their romantic involvements). Meanwhile, there is Errol Agabin (Cogie Domingo), a law student from Manila who occasionally heads to the city of pines whenever he’s in a bind, emotional or otherwise (his parents’ separation, his impending marriage, etc). He would check-in at Jun’s guesthouse, but nothing else goes on between them. Things change between them when Celest (the Communist Organization’s leader – and Jun’s erstwhile lover, played by Arnold Reyes) gets shot and dies, leaving Jun lonely. One night, while helping his drunken guest to his bed, Jun is unable to control himself – and steals a kiss from Errol!

The morning after, Errol feigns ignorance from the event that transpired the night before, and bids Jun goodbye. But we find Errol returning sometime thereafter to finally consummate their growing attraction. Errol eventually returns to Manila for his studies. It would take 3 years before he is able to come back. Unfortunately, he bears news of his impending marriage to his girlfriend Mina (Max Eigenmann). And Jun is left eternally anticipating Errol’s rare yearly visits (if he’s lucky, that is). He would stare at the distance, hopelessly pining for Errol’s kisses. He would write him letters, but never gathering enough courage to mail them. Along the way, he meets interested lovers with whom he couldn’t fully commit – his student Ayer (was that “Santuaryo’s” Ardie Bascara?) and Roland (Rocky Salumbides), a miner from Nueva Ecija. But Jun keeps his Aprils free for the elusive lawyer who visits yearly (every 2^nd week of April, in fact). Will Jun ever find happiness more than their fleeting April rendezvous every year?

Sid Lucero and Rocky Salumbides as Jun and Roland.

Sid Lucero and Ardie Bascara as Jun and Ayer.

The narrative is set against the country’s shaky political goins-on (from Marcos’ Martial Law declaration to the rise of the Arroyo presidency) employing intermittent TV footages of the strife that our country has endured all through the years to remind us of the timeline. This actually gives the story a delicate edge as we are made witness to Jun’s personal and social upheavals (he gets suspended from his leftish group when they learned of his sexual alliances with Celest). The first third of the story is particularly arresting as mood and atmosphere are heightened by heavy fogging and mist-laden mountainsides. Unfortunately, as the story unravels further, we get the picture of an unbalanced relationship between Jun and Errol. The story gradually descends into Danielle Steel territory.

Consider this: They share a night of passion. Then Errol leaves, and never returns for 3 long years! If you were a smart cookie, wouldn't you consider that as a mere one-night-stand, instead of serious relationship? It’s not like Errol was Jun's romantic first time - or the epitome of naivety, for that matter. One night of wild shagging with no follow-through letters or phone calls for years should be an easy clue that it was just hormones on overdrive. How can you even pine for someone who loves you only once a year? If that's even love! Moments of tenderness and affection outside coitus were conveniently absent. Did I even hear Errol profess his love for Jun? Isn't it clear then that, where Errol is concerned, Jun is nothing but an afterthought of his occasional itch?

The movie's early publicity would have you believe that it is a sprawling romantic epic of an enduring love between two people. How deceptive! There is just too much undeserved romanticizing of a relationship that doesn’t really hold a lot of historical baggage together, except of course that the other guy enduringly waits for a chance to get shagged once a year. If that doesn't make him a joke, I dunno what would. Meanwhile, the other party gets on with his life, raises a family, takes his kids to Disneyland, and climbs the social ladder. The equation in “Muli” is rather too simplistic, but the numbers leading to its conclusion don’t quite add up!

Sid Lucero wanted to become an actor like Cogie Domingo and Baron Geisler before he started in the business.

At times, it feels like a Star Cinema production – but with gay people in it. It is such a gay world indeed. And didn't you notice - even Jun's Communist Party has half of its population closeted gays? The thought brings me a sense of frivolity. Masaya ang mundo!

Cogie Domingo, who was already an intuitive actor in “Deathrow” eons ago, withholds his emotions too well. He is unsatisfactorily too detached from the story, probably because his character is muted by his indecision. In “Muli”, Cogie is obviously out of his depth. Sid Lucero’s Jun Bernabe is bemused by his own self-inflicted tragedy. And Lucero magnificently plunges head on into an array of emotions that plays out naturally and sympathetically on screen. He is charming, affecting, believable and just astonishing, even in the scenes where he quietly cries.

Maxie Evangelista, who plays Kaloy (he works for Jun at the inn), turns in a revelatory performance. After years of mediocre and distracting presence in most of Alix’s films, Evangelista has finally hit the cinematic jackpot with a moving performance of the out-and-out “parlorista” who subscribes to the precept that if he wants a slice of happiness, he has to find it himself - even at the risk of rejection or injury.

Rocky Salumbides plays the role of Roland, Jun’s devoted lover, who’s willing to introduce him to his mother. He is unaware of Jun’s occasional tryst wit the “attorney”. Despite Salumbides’ international success as a model, we find it odd why he doesn’t register as impressively on screen as I expected him to. He works hard but he appears awkward and, for the most part, inadequate. But he’s a newbie so this shouldn’t discourage him. For the genitalia-weaned gay crowd, you won’t find penises here, although Domingo and Salumbides share a lot of backsides.

Angeli Bayani does well with her part, but not "excellent" the way some writers make it to be. I couldn't reconcile her character's pining for Jun and her desperation to get married to Niles (Marco Alcaraz). "When we're both old and single, let's marry each other," she offered Jun. Ano to, "Kung Ako Na Lang Sana Part 2" (that Sharon Cuneta-Aga Muhlach movie)?

SPOILERS!

There were a few other things that bothered me. The wig used for the Martial Law years were hilariously bad. The 3^rd and last act of the film suddenly turned into mush, concluding into something so unsatisfactory artificial. Would you accept someone who has been taking you for granted – up until he has lost every one else, but you? How convenient, right? As Jun and Errol, now old and gray, dance to a painfully off-key rendition of “Dahil Sa Yo” (surprisingly sang by Cookie Chua), I was awash with bitter emotions of regret and wasted years! God forbid my life will ever be defined by a romance as ungratefully unsatisfactory as this one. Wag na lang!

Cogie Domingo was never believable as a lawyer.

My friends and I saw the film together based on the buzz surrounding this work. It would be unfair to call “Muli” bad. There are several other films this year deserving of the adjective. Unfortunately, I can’t call it a “good” one either, so let's settle with something more appropriate: "middling"! The story is less than adorable, and the pacing sort of drags. As romances go, the story leaves a bitter taste in the mouth. In fact, we came out of the cinema not with a profound sense of affection, but of cynicism. If that's how a romantic film affects its audience, then someone is in trouble.

Director Adolfo Alix used to be the exciting young film maker. He showed a lot of promise, but this year, he made one of the year’s worst: “D’Survivors” (Alix seemed too distracted with his beautiful actors, he actually forgot his audience). He also released “Romeo and Juliet” (with Victor Basa and Alessandra de Rossi), a failed experiment on alternative story telling (see: Hans Canosa’s “Conversations with Other Women” with Helena Bonham-Carter for reference).

Whatever happened to the promise?

Rocky Salumbides

Ardie Bascara

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.

Pitas and The Cinema of the Poor

After failure to pay for yet another monthly rent, Regie (Francine Prieto) and her children were thrown out of their house. They find themselves in slum's urban squalor just a stone’s throw from Malacanang Palace, where locals are constantly showered with “presidential” give-aways (noodles, rice).

Jasmine (Kristel Moreno) is discontent, but is constantly comforted by her mother’s (Francine) optimism that her beauty will eventually take her away from the slums. But the slums is a tenuous and testy environment for a lovely young girl like Jasmine. After all, the streets are populated by the dregs of society. One of whom is the amorous Rafael (Sid Locero) who sneaks glances at Jasmine's way. Rafael is unemployed but occasionally dabbles on tandem snatching with his friend Joven (newcomer Greggy Santos) – thus the title “Pitas”, a street slang for snatching. For a menial commission and territorial protection, he takes his “harvests” to Cabo (Bembol Roco), a former policeman (the barangay chairman) who has his eye on Jasmine’s mom, Regie.

It isn’t long before Rafael catches Jasmine at her most vulnerable. After getting her drunk, he takes advantage of her stupor, succeeding in what would be the movie’s second attempt to find cinematic context – “Pinitas mo si Jasmine.” says Joven.

This is where tension is eventually derived. Lourdes (Rio Locsin), Rafael’s prayerful and hardworking mother decides to go home to Marinduque. She is stricken with cancer. But she learns that Jasmine is tagging alone with Rafael. The girl is pregnant! What becomes of Regie’s dreams for her family? Something has to crumble from these convoluted situations, and it does, rather awkwardly!

I was mildly surprised by the easy storytelling that characterizes the first half of Joey Romero's “Pitas”. It is peppered with socio-political issues (if a tad too obviously) : politicians buying people's allegiance in the form of P500 pesos and a packet of noodles; presidential propaganda about government programs like the TESDA; desperate women turning to foreigners (like Regie's exes - "isang Kano, isang Hapon, isang Italyano") to flee from the clutches of poverty; companies shutting down or letting employees go; petty crimes as part of the slum's daily existence. Vignettes of apathy flash before us in enumerated succession, we felt like this was part 2 of "Puntod" shown last January!

The story is something that you’ve seen several times before! New artists bring life to these predictable narrative strings. But the cast deftly buoy up the story’s nondescript substance, so we take interest while watching the film.

For years now, Indies (aka the Digital Wave) continually mine the country’s abject poverty, sensationalizing the demoralization of a sick society. Exploitation cinema is upon us! In fact, by accounts of the foreigners who get to watch Filipino films abroad, Philippines is a metropolis of makeshift dwellings whose source of inspiration is the numerous rosaries we can pray from Wednesday to Sunday and back; the Philippines is the land of nubile macho dancers with prevalent homosexuality at every nook and cranny; we are a country of slum-dwelling, cockroach-infested (Claire Danes, hello!) whorehouses; our cinema halls reek with semen, our toilets are populated with flesh hungry critters; and our houses are inhabited by those who dream of leaving this god-forsaken land. I am so proud. Thank you, cinema.

Spoilers here!

What confounds us is how the story around Jasmine's rape was played out! There was a rape, wasn't there? With Jasmine lying down a bed heavily inebriated but obviously conscious, Rafael forces himself on her, as she struggles against his groping advances. Cut to the succeeding scene. We see Jasmine and Rafael walking side by side in blissful harmony. Regardless of how much I am attracted to a guy, once he forces himself on me and takes advantage of my vulnerability, I shall not see him as my Romeo. In my book, he shall cease to be the decent man that I was once attracted to, and I will not be found walking hand in hand with this scum who slithered his way inside me! That much is what common sense dictates!

The second half of "Pitas" down to its ending is a conundrum. The storyteller suddenly loses steam and ends his film abruptly, and I am not talking about the screening time! First, Jasmine had to participate in a dance contest, but even before the number is over, she falls down the floor. Lahat nakatunganga - while blood splatters down her pants! Of course that is more cinematic instead of just waiting for the performance to end and have her fall backstage, is it? Yet, despite her unfinished dance routine, “nanalo kayo anak”, reports her optimistic mother Regie! They suddenly forget that Jasmine just lost her baby! But what the heck, not only does she get a winning trophy, she also gains a scholarship for an unfinished dance number! Clap clap clap! Isn't life grand? Now tell me this isn’t escapist?

Sid Lucero is good, in fact he’s better here than in his mawkish teleserye for ABS CBN ("Magkano Ang Iyong Dangal"). Kristel Moreno looks fresh – perfect for the titular picking, but she is really out of her depths. No worries, it’s her first movie! She can get better! She does remind me of Mutya Crisostomo. Rio Locsin and Bembol Roco give gravitas to what should otherwise be a trite story. Francine Prieto looks a bit too heavy on screen, which should make her the perfect mother? Not really. Miss Prieto, despite her seniority in the business, looks too raw for her role. She needed spice, needed some shaking, needed more emotive insight to make her a believable, boisterous mother of three.

On the eye candy side, the film introduces Greggy Santos as Joven, Rafael’s friend and literal partner in crime. Santos is too goodlooking and too “scrubbed” to be taken for a slum dweller. But just when you’re about to write him off, he comes up with a very comfortable performance. He struts his stuff with confidence sans the awkwardness of a newcomer. He becomes the snatcher from the slums who drops neologisms like “namumuki” like it was vernacular. Ateneo should be proud!

Greggy Santos - Strong screen presence. Good thing Sid Lucero is a seasoned and confident actor!

Joven runs for his "harvest" (pitas) and hands it to Rafael. This is one snatcher that makes me blush! LOL

pieta

The Pieta (1499) by artist Michaelangelo is a marble sculpture at the Vatican City's St. Peter's Basilica - "the duty children owed their parents"
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caught snippets of "boy and kris" where the cast of the upcoming afternoon teleserye "pieta" was promoting their show. seeing cherie gil sitting beside pretty boy ryan, it was a spotlight on beauty altogether. she was ravishing, he was appetizing. LOL

how can you not transfix yourself on the boobtube when ryan smiles. hay naku. truly one of the most good looking men in the philippines. too bad that cherie gil is nursing a broken heart after her recent amicable split with her musician hubby ronnie rogoff. my heart goes to every lass who lost their lads. it will be tough but life goes on.

it's also interesting to see ciara sotto open the talk show with a beautiful rendition of an old song, "kapalaran". i remember the song well from my lolo who used to hum it repeatedly and i suddenly miss my dear gramps. it was a good thing that ciara actually gave justice to this song or i would have raised hell.. as if. LOL

i have always thought that this sotto girl had middling talent, but her one-song number was a revelation, and i shall look for her cd from here on. i think i saw a new one on display at odyssey. if only she sang live. oh well.

and yes, we saw cherie's first born child, all grown up - jay eigenmann, who is a spitting image of sid lucero - gosh! they might as well be twins! jay wrote his mom a beautiful beautiful letter. he sure can write; it totally blew me away!



p.s. did you know that ryan was born in the united states? no wonder he speaks the queen's language like moi. hihihi