2006 Spanish Film Festival

Spanish Filmfest sampler

El Abuelo/The Grandfather (1998) by Jose Luis Garci
151 minutes

Jose Luis Garci is renowned for lavish melodrama set in picturesque location. That is the case with To Begin Again, which won the Oscar for Best Foreign Language Film 23 years ago.

El Abuelo is no different except that the story - about a proud, old man confronting his aristocratic past and the truth behind his two granddaughters - is stretched too much. Futhermore, certain scenes reminded me of those old Hollywood tearjerkers.

But Abuelo is memorable for three reasons: the topnotch screenplay by Garci and Benito Perez Galdos (adapted from his novel of the same title); Manuel Balboa’s stirring musical score; and the wonderful performance of Fernando Fernan Gomez (in the title role).

Machuca (2004) by Andres Wood
121 minutes

1973 is unforgettable in Chilean history. It's the year when General Augusto Pinochet led the military in ousting leftist President Salvador Allende. Costas-Gavras tackled that subject in Missing. Wood may be late (early 70s seems like ages ago), but he did better.

Administrators of Saint Patrick School attempt to integrate kids from the upper class and the lower class. That experiment results to rich boy Gonzalo Infante being good friends with slum kids Pedro Machuca and his cousin Silvana. It’s a good set up, but when Chile's turbulent events affect the school, the lives of these kids will never be the same again.

Wood's approach is realistic and it's full of subtleties that hint on the tension existing within Chilean society. Both made Machuca scathing and heartbreaking.

Both El Abuelo and Machuca are among the films to be featured during the Spanish Film Festival. It will run from October 3-15 at Greenbelt 3.

(First published in Inquirer Libre on October 2, 2006)

The first two episodes of "Prison Break"

The great escape on TV

It could've been another forgettable TV series, but Prison Break shows lots of promise after its first two episodes were shown in the cable channel, Crime/Suspense.

Michael Scofield (Wentworth Miller) is a structural engineer who gets himself arrested in able to be in the same prison with his older brother, Lincoln Burrows (Dominic Purcell).

Lincoln is on death row for a murder he claims he didn't commit. Only Michael believes him, and he sets a plan for both of them to escape from the prison he helped designed.

But before the siblings embarked on the great escape, Michael has to deal with an array of interesting characters within the penitentiary: a supportive cellmate (Amaury Nolasco); a former mob boss (Peter Stormare); a pacifist doctor (Sarah Wayne Callies); and a warden (Stacy Keach), who treats Michael like his son. All of them may assist the new prisoner in his plan.

Then there are bigger problems to deal with: how Michael can keep himself unscathed while behind bars; and trying to uncover a grand conspiracy behind his big brother's conviction. In the latter's case, he needs the help of his lawyer, Veronica Donovan (Robin Tunney), who happens to be Lincoln's ex-girlfriend.

What made the pilot episode engaging is the taut direction of Brett Ratner (director of the upcoming summer flick, X-Men: The Last Stand). The tension didn't diminish in the second episode, with Greg Yaitanes (he directed a few episodes of Alias, CSI: Miami and Nip/Tuck) behind the camera.

Give credit to writer Nick Santora for the clever script and for creating Michael Scofield, who may be one of the most memorable TV characters of recent. As the young prisoner on a desperate mission, the British-born actor (whose past film works include Underworld and The Human Stain) is fit for the role. This might also be the show that he would be most remembered for.

Scofield's smartness reminded me of Professor Moriarty (Sherlock Holmes' brilliant arch enemy). Not only did Miller play that quality to perfection, but he also deftly shows his character's hero/antihero nature, which is both appealing and dangerous. The supporting cast (notably Swedish actor Stormare) is also topnotch.

Prison Break is not to be missed. Expect the unexpected in the next episodes. Prison Break airs in Crime/Suspense every Tuesday at 10 PM.

(First published in Inquirer Libre on February 28, 2006)

Little Manhattan (2005)

Bittersweet memories

How many can recall their first attempt, as kids, to understand the complexities of life and love? I'm not one of them.

In the late 1980s, tales of such bittersweet memories were presented in the weekly ABC TV series, The Wonder Years. Fans of the coming-of-age show will remember Kevin Arnold (played by Fred Savage) who recounts what it's like growing up in suburban America during the 1960s.

On of the show's writers was Mark Levin. Now for his film directorial debut, he updates The Wonder Years - the result is Little Manhattan.

In this modern spin, Gabe is a fifth grader living in the Upper West Side. He can't fully comprehend the fact that his estranged parents live in the same apartment. Yet his life, which revolves around his buddies, basketball and scooting around the 10 square blocks around his building, is bliss - until Rosemary Telesco comes into his life.

Gabe has known Rosemary since nursery school, but when they become sparring partners in karate class, the 10-year-old lad develops feelings for her that both thrill and torment him. He falls into an agonizing dilemma after learning that she's leaving for summer camp. Will she be his girl?

What makes Little Manhattan endearing are the characters that the viewers can relate to, and moments such as those known to make life meaningful. Levin also injects a touch of magic realism, a maneuver that made Ally McBeal a little more entertaining (though the effect here isn't meant to be hilarious).

Everything in Manhattan we've seen countless times, but Jennifer's Flackett's screenplay brims with sincerity, which is irresistible. Further, Levin picked his actors well (it's great to see Sex and the City stars Cynthia Nixon and Willie Garson again). But much of the credit goes to the songs - the selection is excellent for walking down memory lane (for instance, The Beatles' In My Life).

Little Manhattan is not among the most memorable films of 2005. Nor is it one that many might remember 10 years from now. But it certainly makes entertaining viewing.

(First published in Philippine Daily Inquirer on January 25, 2006)

2005 Spanish Film Festival

See the best of Spanish and Latin Cinema at Greenbelt 1

From September 29 to October 16, Instituto Cervantes will feature the best of Spanish and Latin Cinema at Greenbelt 1. The long lineup includes Best Picture Goya (the Spanish Oscar) winners and entries for the Best Foreign Language Film Oscar category. Here are some to look forward to:

The Sea Inside/Mar adentro (2004, 125 minutes) by Alejandro Amenabar

For Ramon Sampedro, the sea is like the sweet life (la dolce vita). Ironically, a cliff diving accident left him paralyzed for several years and he wants to end his sufferings with dignity by suicide. The state refuses him to, but his struggles touch the lives of many, most notably a lawyer who aids to his cause.

Hollywood has already done two movies about euthanasia, namely Whose Life Is It Anyway? (starring Richard Dreyfuss) and It’s my Party (starring Eric Roberts). However, both films don’t affect the viewers as much as Amenabar’s latest. There’s much to root for The Sea Inside, from great performances (particularly Belen Rueda) to stirring musical scores of Richard Wagner and Giacomo Puccini, but the Chilean-born filmmaker best conveyed that life is beautiful, even when death is near. It’s no surprise that Sea won numerous awards, including the Oscar.

Lost Embrace/El abrazo partido (2004, 100 minutes) by Daniel Burman

For those who are tired of movies about Jews reminisce their Holocaust experience, Daniel Burman’s debut work is a treat: a college dropout trying to come to terms with his Polish-Jewish heritage, his father who abandoned him when he was a kid and the seedy shopping center he lives in, which is populated with quirky tenants.

Burman, who is a co-producer of The Motorcycle Diaries, didn’t do any groundbreaking technique in Lost, but this semi-autobiographical “dramedy” (drama comedy) is overflowing with insights about happiness, redemption and self-worth, all of which we can relate to. The movie is anything but a bore.

Torremolinos 73 (2003, 93 minutes) by Pablo Berger

Javier Camara and Candela Pena wonderfully portrayed Alfredo and Carmen, a stressed encyclopedia salesman and his loving wife facing a bleak financial future. With no alternative jobs around, the couple accepts an offer to make films for Scandinavian moviegoers. The catch, though, is it’ll be erotic pictures, which is in demand in the Nordic region. The venture started well until complications threaten the marital union.

Berger presented a slice of Spain’s history, when the European country turned liberal after General Franco’s death. It’s satiric during the first half, but it cooled down in the next half. It’s quite a letdown, but moviegoers have lots to laugh about, which make the viewing satisfying throughout.

(First published in Inquirer Libre on September 28, 2005)

The Sisterhood of the Traveling Pants (2005)

A summer to remember

What makes summer special? Is it the heat, the holidays or the happenings? Many movies try to answer that question, from first love (The Summer of ‘42) to anything under the sun (Eric Rohmer’s summer films). The Sisterhood of the Traveling Pants is the latest to join the bandwagon. Watching it will make audience be more grateful for the summer.

Four best friends spend their first summer apart from one another. Shy Lena (Alexis Bledel) visits her grandparents in Greece. Self-assured Bridget (Blake Lively) goes to a soccer camp in Mexico and falls in love with one of the coaches. Awkward Carmen (America Ferrera) is expecting quality time with her dad in South Carolina, but she feels left out instead after meeting his fiancée and his soon-to-be stepchildren. Jaded Tibby (Amber Tamblyn) remains at home, films a movie, and befriends a young girl named Bailey.

To keep in touch, they pass a pair of Levi’s pants to each other, as well as the adventures they are going through while apart. What’s magical about the jeans is each one of them fits perfectly into it despite their various shapes and sizes. It also symbolizes a turning point in the life of every girl.

The movie is based on the young adult book of the same title by Anne Brashares. Traveling Pants is not different from The Divine Secrets of the Ya-Ya Sisterhood, Now and Then and other girlie flicks, but what makes it distinctive is the chemistry of Bledel (Sin City), newcomer Lively, Ferrera (who made a breakthrough a few years ago with Real Women Have Curves) and Tamblyn (daughter of West Side Story star Russ Tamblyn).

The smooth resolution of the gals’ predicaments is expected and a letdown, but Pants has no pretension - some scenes will touch the sensitive nerve of some moviegoers. Adult viewers will appreciate the skillful handling of issues like ethnic labeling. Younger ones will relate to what it’s like to struggle while discovering one’s identity. Everyone will enjoy listening to the songs being played as the plot unfolds.

However, the best message that can be learned from Pants is the virtue of friendship, and how extraordinary it is when the camaraderie remains unaffected as the years go by. Anyone desires such closeness. It reminds me of the classic quote from Frank Capra’s It’s a Wonderful Life: A man is no failure if he has friends.

(First published in Inquirer Libre on August 24, 2005)

2005 Cinemalaya Film Festival

Cinemalaya breathes life into local movie industry

Cinemalaya screenings will be from July 12 to 17 at the Cultural Center of the Philippines and from July 18 to 23 at the UP Film Institute

The Cinemalaya Film Festival wants to prove that a younger generation of filmmakers will breathe life to an industry once hailed for the likes of Lino Brocka. This writer saw four entries:

Room Boy by Alyosius Adlawan

A lonely motel attendant (Polo Ravales of Encantadia) can't get over his wife, who is confined to a mental institution. He gets another chance for happiness when he meets a carefree prostitute (Meryl Soriano). It won't be an easy choice for him though.

Room Boy is reminiscent of Butterflies are Free, a bittersweet, old Hollywood movie starring Goldie Hawn and Edward Albert. Ravales and Soriano are pleasant to watch during the film's amusing and tender moments, but it could've been more memorable if the would-be lovers were played by actors like Vhong Navarro and Tuesday Vargas.

Baryoke by Ron Bryant

A sleepy barrio gets excited over a videoke machine inherited by their amiable barangay captain (Ronnie Lazaro). The music brings momentary joy to anyone
singing along with it. It later becomes the cause of the barrio's countless troubles.

Baryoke is fun viewing and is partly commended for the performances of Lazaro, Elizabeth Oropesa (as his wife) and Pen Medina (as the kapitan's buddy). However, the movie is ruined when it becomes issue-conscious during the second hour. It's unfortunate that Bryant chose not to be simple and straightforward, which is a surefire formula for a good film.

Balay Daku by Jan Philippe Carpio

Julio and Stella relocate to Bacolod, where the former grew up. She not only had to adjust to the laidback lifestyle, but also to Julio's family as well.

JP Carpio's sophomore feature is 3 hours long and his pacing his deliberate. Nonetheless, patient viewers will be rewarded with shots layered with insights -
about living with a traditional family, a city that looks more like a huge subdivision and Negros Occidental, which has more to offer than sugar canes.

Big Time by Mario Cornejo

Danny and Jonas are best friends who dream of being successful. Wilson likes to take over his father's drug business, but his old man has grander plans for him. His girlfriend Melody only thinks of showbiz stardom. A failed kidnapping attempt brings these four characters together. They plan another one, which they all believe is a quick way to fulfill their dreams. But something goes wrong with their many plans.

The plot has been used and modified many times before, but the film has witty lines, a rowdy atmosphere and flashy shots for everyone to like it. Big Time isn't only a crowd pleaser, but may also be the festival's best entry.

(First published in Inquirer Libre on July 14, 2005)

Closer (2004)

Can this be love?

The praises are never-ending, but award-giving bodies have shown little love for Closer when it came to picking last year's best films.

The movie's director, Mike Nichols, was among the hottest personalities during the 60s; his first two features, Who's Afraid of Virginia Woolf? (1966) and The Graduate (1967), are now considered masterpieces. But things have not been the same for the German-born Nichols after his disastrous adaptation of Joseph Heller's classic novel Catch-22 in 1969.

He has churned out Working Girl, Wolf and Primary Colors in the last two decades. They're not bad, but they're also not par with his earlier works. Then Angels in America came along and Closer followed.

Many films about love make us bubbly and sentimental, but this is not the case with Nichols' latest, as it is a brutal and sharp look on love among four individuals. Themes like this are a dime a dozen in French Cinema, so it doesn't seem as fresh in the eyes of film buffs. However, not a few will relate to the film, as it's about wanting and repulsing someone so much. Admit it or not, that's the enigma that is love.

Closer revolves around Anna (Julia Roberts), a photographer; Dan (Jude Law), an obituary writer aspiring to become a novelist; Alice (Natalie Portman), a Lolita-like stripper; and Larry (Clive Owen), a dermatologist. Their lives get tangled and bruised in a web of rosy promises and betrayals. The film spans four years, but the events of these four characters seem eternal such that the film leaves a searing mark as the end credits roll.

Closer is adapted from Patrick Marber's play (he also wrote the screen version). It's not hard to guess that its impact is great on the big screen, as unfurling emotions are magnified. Without a doubt, the performance of the cast is what makes the film a must-see. If an Oscar category for Best Ensemble exists, it would've been a shoo-in. Julia Roberts gave one of her most memorable performances. And while Jude Law was exemplary, overexposure has hurt his chances for recognition (he appeared in six films in 2004).

But the movie's defining moments are turned in by Alice and Larry. As Alice, Natalie Portman is a wonder; she's innocent and vulnerable on some instances only to turn manipulative and callous the next, while a bundle of emotions swirl wildly in Clive Owen's face in his pathetic but heartbreaking portrayal of Larry (Trivia: Owen played Dan in the stage production).

When all's been said and done, one wonders if that's what love is all about. Strangely enough, it all seems to rings so true.

(First published in Inquirer Libre on April 5, 2005)

Akira Kurosawa

Eiga Sai 2005: Spotlight on Akira Kurosawa

"Eiga Sai", Japanese for film festival, is the main cultural event of Japan Foundation, Manila. In its latest edition to be held this month, selected works of Akira Kurosawa will be showcased.

According to young filmmaker Nerissa Picadizo, "One of the many notable things about Kurosawa is that he was able to earn the admiration of George Lucas, Francis Ford Coppola and Steven Spielberg long before those directors became well known around the world."

Film buff Renelson Morelos also enthused, "The four things that I like most about Kurosawa's films, which I think are distinctive features, are the color scheme, the visual composition or mise-en-scene, gender flexibility and this brim of humanism!"

Akira Kurosawa, arguably the most renowned Japanese filmmaker, was inspired by old Hollywood Westerns. "Kurosawa blended Western storytelling and technique with Eastern sentiments and style," noted Vives Anunciacion, film reviewer of Philippine Daily Inquirer Libre.

Unlike Alfred Hitchcock or Woody Allen, he didn't focus on a single genre. Whatever genre it was, be it Shakespeare (The Throne of Blood), film noir (High and Low) or epic-scale samurai drama (Kagemusha), the Tokyo-born director's brilliance was unquestionable.

The early 50s marked the apex of Kurosawa's directorial career. Rashomon, a 1951 Special Oscar Recipient for Best Foreign Language Film and considered by many film experts as one of the landmarks of World Cinema, is a series of powerful images that examines truth and human nature.

Fans are moved by the humanitarian themes of his works. Ikiru (1952) involves a dying man's valiant efforts to do a noble deed for his community while Seven Samurai (1954) shows how altruism prevails over selfishness when seven ronins band together to save a village from its enemies and bandits.

Kurosawa grew up admiring the likes of John Ford and in turn, Hollywood has returned the favor: Yojimbo was remade into Fistful of Dollars (the movie that launched Clint Eastwood to stardom) while Lucas' Star Wars has touches of The Hidden Fortress. It's also in his pictures that Toshiro Mifune became well-known, as he was often been cast as a grouchy loner.

The director became less prolific during the late stage of his career, but he managed to come up with a few more gems before his death in 1998. Ran is his riveting adaptation of King Lear while Madadayo, his final opus, is his bittersweet version of an early British classic, Goodbye, Mr. Chips.

"Eiga Sai" has been an annual event of the Japan Foundation, Manila for the last eight years. Cineastes have waited this long to view the great Kurosawa's works, and now is their chance to relish them.

Aside from Rashomon, Ikiru and Seven Samurai, other films to look forward to are Judo Saga, Stray Dog and The Bad Sleep Well. Preview screenings will be held at UP Film Institute from February 23 to 26 and 28. Opening night will be at Cultural Center of the Philippines (CCP) Little Theater on March 1, followed by regular screenings at CCP Dream Theater and PCI Bank Tower II - Antonio Molina Hall from March 2 to 11.

(First published in What's On & Expat on February 13-19, 2005)

Sideways (2004)

Wine and sympathy

Nearly a century ago, California grapes symbolized the rage of the Western American state's poor folks against oppression and economic depression. John Steinbeck immortalized this in his celebrated novel, The Grapes of Wrath. Now, of course, California has become well-known for its wine counties, as Rex Pickett has written in his book Sideways.

There could have been no better choice than Alexander Payne to adapt it to the big screen.

Payne has made a name for his satires about middle-class Americans. He has only four films to his credit, but it looks like he may be the next big thing in American cinema. Sideways does not deal with big issues, as did Payne's first two features, Citizen Ruth and Election. This does not mean, though, that his latest is less impressive.

Sideways starts off as a week of wining and whining. Miles and Jack are two middle-aged friends whose personalities are like water and oil. Jack is about to be married, and Miles is gifting his buddy with a trip to the vineyards of the Santa Ynez Valley.

As they hit the road and sip the wines, viewers learn that the two are not successful men, and are therefore feeling less than fulfilled with their lives. Miles is struggling to publish his novel; at the same time he is unable to get over his divorce. Jack is a washed-up actor, but isn't exactly despondent about it. In other words, one is still hopeful for something better, and the other is seemingly resigned to his fate.

Their lives take a turn when they meet Maya, a wine-savvy waitress, and Stephanie, a local wine pourer.

Sideways is neither innovative nor searing enough to draw a large number of moviegoers. In fact, none of Payne's works can be considered "commercial." It's appeal lies largely on the feeling that it is personal and intimate. Further, only a few filmmakers cleverly and successfully mix tragedy and comedy.

The brilliant screenplay by Payne and Jim Taylor isn't surprising at all. The duo's skills was immediately noticed on their first collaboration, Citizen Ruth. They've been showered with recognition since, none the least of which are two Academy nominations. An Oscar on February 27 is almost a certainty.

Under Payne's helm in previous movies, Laura Dern, Reese Witherspoon and Matthew Broderick gave possibly their best performances onscreen. In Sideways, Payne gathered a cast of non-A-list actors, which turned out to be a smart idea. Thomas Hayden Church as Jack, Virginia Madsen as Maya, and Paul Giamatti as Miles are unforgettable. Giamatti, especially, portrays sad resignation to an insignificant existence with convincing effectivity.

Audiences will no doubt be amused with the film's deliberations linking wine and life. Yet, underneath the bickering and painfully sharp wit, what Sideways really offers is warmth and a big, loving heart.

(First published in Philippine Daily Inquirer on February 8, 2005)

Two Brothers (2004)

Two tigers of a tale

Walt Disney has made many films about animals, both real and animated, and not a few have enjoyed watching them. French Cinema has its own share of animal pictures as well, and although they are smaller in number, they still are far better than the best the Americans have come up with. The reason, of course, is poetic touch.

Fans of the French Film Festival will have fond memories of Hanuman and Traveling Birds. In 1996, Microcosmos stepped on new grounds, as it featured delightful vignettes on what being an insect is all about. The trend, though, started with The Bear by Jean-Jacques Annaud in 1988.

The Bear became both a commercial and critical success so that it is no surprise really that the Oscar-winning director should follow it up with Two Brothers 16 years later, which is about another fearsome predator, the tiger, or in this case, two tigers.

Annaud cleverly sets Two Brothers in the jungles of Cambodia, in a moss-covered temple that was once the seat of a mighty empire. It instantly stokes our romantic, adventurous spirits. It's within these sacred stones that The Great Tiger makes his kingdom and refuge with his Tigress and their two cubs, Kumal and Sangha. However, as man's greed knows no bounds, he invades the temple and breaks up this family of four.

Thus begins the adventure of Kumal and Sangha that will bring them into the midst of men, many of whom have no heart and soul although there are those who believe that both cubs deserve to live in the temple and to untamed freedom.

The first half shows why the French are arguably the experts in cinema. They know only too well that film is a visual language. And those lyrical and captivating scenes where Kumal and Sangha explore their surroundings under the watchful gaze of the Tigress, with virtually no dialog, is proof of this mastery.

The musical score of Stephen Warbeck (who won an Oscar for Shakespeare in Love) only adds more to the magical quality of the movie.

It is quite unfortunate that Annaud's collaboration with Hollywood comes out much too evidently at the latter half of Two Brothers, turning an otherwise excellent movie into your average popcorn flick. Which nearly ruins the film. But the tigers save the day and that's all that matters. Never mind if the talented Guy Pearce (the lead actor in the film) is overshadowed. You don't often see movie stars in four legs growling frequently and acting this good.

(First published in Inquirer Libre on December 9, 2004)

2004 German Film Festival

German treats this weekend

German Cinema is usually associated with the black-and-white silent classics, but much has evolved since films such as Metropolis were first shown.

A German Film Festival will be held at Greenbelt 1 on October 23 and 24. Only four movies will be featured, a small number compared to what the other foreign filmfests offer, but all are of above average quality. Here are short takes of three of those films:

Run Lola Run (1998) by Tom Tykwer

Tykwer is renowned for eye-catching visuals and frequent tackling of the theme of fate. Run Lola Run and its lead star, Franka Potente, international stardom.

A guy gets into money trouble and lays the blame on his girlfriend (Potente). What happens next are three different versions of how the gal - since she loves her angry boyfriend so much - tries her best to come up with a solution to save his skin.

Run is basically shallow and won't be taken seriously by critics, but watching the fast-paced film is like riding a roller coaster - it's so exciting and lots of fun. Potente, who was last seen in The Bourne Supremacy, is as hot as the flaming-red color of her character's hair.

Trains'n'Roses (1998) by Peter Lichtefeld

Hannes is a beer-truck driver who dreams of winning at the international competition for readers of train timetables, to be held in the Finnish town of Inari. However, his special leave is canceled, which upsets him and causes him to his his boss who is knocked unconscious.

A police inspector discovers his boss dead and Hannes becomes a prime suspect. With cops on his tail and meeting the women he fancies in unexpected moments, winning at the contest may not be the only thing that Hannes would eventually end up with.

Once you get used to the stoic expressions of the Scandinavians, the reward is an amusing, quirky picture that will captivate dreamers and romantics.

Trains occasionally features a track shot of the Finnish tundra, which reminds us that dreams and true love can happen.

Mostly Martha (2001) by Sandra Nettelbeck

Chef Martha Kleen lords it over a restaurant's kitchen until an Italian chef is hired and her sister dies in an accident, leaving in her care an 8-year-old daughter. Slowly but surely, these two persons warm up Martha and change her life.

Modify the plotline a bit and you'll get something like the classic comedy, Woman of the Year (starring Katharine Hepburn and Spencer Tracy). It may not be the most outstanding German film of 2001 (a Best Foreign Language Film Oscar was given to another German feature, Nowhere in Africa), but Martha is something most of us will relish.

(First published in Inquirer Libre on October 22, 2004)

Super Size Me (2004)

Patabaan!

Masarap kumain sa mga fast-food stores at para sa mga walang oras magluto, ang fast food ay mabilis at matipid (kung value meals na di lalagpas sa 35 pesos ang kakainin niyo).

Pero naisip niyo ba na masama ito sa ating kalusugan lalo na kung madalas ang pagkain natin ng mga ganito? Ito ang nais iparating ng documentary film, Super Size Me?

Ipinakita ng director na si Morgan Spurlock na marami sa United States ang tumataba at sinisisi ay si Ronald McDonald at ang kanyang Arch Empire. Para patunayan ang punto niya, nag-McDiet siya - almusal, tanghalian at hapunan sa McDonald's sa loob ng isang buwan. Kung ang large size ng softdrink sa kanila ay kabumbas ng Biggie size ng Wendy's dito, isipin niyo na lang kung gaano karami ang Super Size lalo na kung French fries.

Di nagkamali si Spurlock: pagkatapos ng 30 araw, 25 pounds ang dumagdag sa bigat niya, naging sakitin siya at palaging masama ang pakiramdam niya.

Interesante ang “experiment” ni Spurlock dahil sa mga sumusunod:

1. Sinasabi niya na maliit na bilang lang ng mga Amerikano ang maingat sa pangangatawan nila at mapagbantay sa kinakain nila dahil dumarami ang bilang ng mga matataba o obese lalo na sa mga kabataan.

2. Wala bang ibang na-inspire na i-verify ang punto ni Spurlock? Bakit di subukan ang ibang fast food stores gaya ng Kentucky Fried Chicken (KFC)? Yung balat pa lang, nakatataba pero yummy naman.

3. Di ba naisip ng direktor na ang ilang tabachoy na Kano ay baka malungkot ang buhay kaya ginagamit ang pagkain bilang anti-depressant?

4. Talaga bang walang self-control ang karamihan sa America pagdating sa kainan kaya nauso ang “quick and easy” methods. Isa sa “madaliang” solusyon sy ang gastric bypass surgery.

Si Spurlock ay di mapangaral at hindi rin sinasabihan ang nakanood ng Super na huwag kumain sa McDo. Nariyan ang freedom of choice. Sa mga Pinoy naman, di ako magugulat kung marami sa atin ay maaaliw sa pelikula dahil enjoy nating kumain.

At sa haba ng mga mall dito, maaaring pumaroo't pumarito upang mabawasan kahit paano ang mga malalaking tiyan pagkatapos kumain sa fast food.

Aaminin kong naka-relate ako sa pelikula (type ko ma-almusal sa Jollibee at inumin ang Mountain Dew imbes na gatas o kape) pero maging physically active lang at mako-control mo ang bigat mo kahit papaano.

Subukan sana ito ni Morgan Spurlock kung sakaling may balak siyang isunod sa Super Size Me.

(First published in Inquirer Libre on August 30, 2004)

The Ladykillers (2004)

In the company of weirdos

The brothers Joel and Ethan Coen have a mark in Hollywood for weirdness. In Raising Arizona, for instance, Nicholas Cage's character is named Hi (as in hello).
Many film buffs moaned when whey learned that the Coens had joined the remake trend with their latest, The Ladykillers. However, the brothers' trademark eccentricity has made their version one of the best of late.

It was five decades ago since Alexander Mackendrick came up with one of the best British comedies of all time. In the original version of The Ladykillers, five crooks stage a robbery, but their plan goes bust whey they decide to kill a sweet, old lady in whose house the criminals temporarily lodged. A train passing not far away is the only (silent) witness to their crime.

The leader of the gang is portrayed by the later Sir Alec Guinness - funny in his buckteeth. In the remake, Tom Hanks takes on Guinness' role and wears clothes that make him look like he's auditioning for a stage play of Sherlock Holmes.

His team consists of the cigar-chomping General (Tzi Ma), Pancake (J.K. Simmons), who is struggling from Irregular Bowel Syndrome (IBS), the dumb Lump (Ryan Hurst) and Gawain MacSam (Marlon Wayans), who keeps on cursing.

The target is tha casino where Gawain is employed and the vaults are only accessible through the basement of Marva Munson (Irma P. Hall), a black widow living with an orange cat.

The setting, which is a sleepy town in the South breathing on gospel blues tunes, is perfect. The Coens are smart in letting the cat be the spectator of all that's happening - sort of reminds you of the Cheshire Cat in Alice in Wonderland. It puts a fairy-tale touch to the movie.

The Coens' fascination for old Hollywood i still apparent with the tidy surroundings, the noir-ish shots of the bridge at night and how the town seems not to be infected with present-day jadedness and cynicism.

The odd touches are still there (is there a really a fellowship of those suffering from IBS?), but the brothers have mellowed with age. Were they younger, the movie would've been more outrageous and consequently better. But it doesn't matter really. In a town that churns out mediocre remakes that only meant to make lots of bucks, the Coens' remake is more substantial.

(First published in Inquirer Libre on June 7, 2004)

Imagining Argentina (2003) and Man on Fire (2004)

Imagine they're perfect

Is it coincidence or are Ayala Cinemas becoming venues for critically-panned films? Last year was Gigli (starring Ben Affleck and Jennifer Lopez).

The first quarter of 2004 has just passed by when Imagining Argentina opened at Glorietta 4 (and possibly moved to a Greenbelt theater a week after). Don't pay 100 bucks to see it - the movie sucks big time.

It's hard to tell if writer and director Christopher Hampton, who won a Best Screenplay Oscar 15 years ago, picked the wrong project or his best days are long gone. The script is bland, the actors (notably Emma Thompson) are distracting the viewers with their accent (is it British or Argentinian?) and the movie sorely lacks the spirit and passion commonly seen in Latin American films.

On top of all of it is the subject matter is so stale. It's about Argentina's darkest years, when the military is responsible for the disappearance of countless civilians especially the critical minded. The topic is hot during the 80s, and proof of it is Costa Gavaras' Missing (1982) and Luis Puenzo's The Official Story (1985), both of which is about the Hispanic military junta's dirty deeds, were better tackled and widely acclaimed.

Antonio Banderas plays a suffering artist while off screen, he's been enduring mediocre flicks or box-office bombs. The talented Spaniard's early career shows he can be among cinema's greatest actors if given the right material and director, but both still elude him since setting foot in Hollywood in the early 90s.

There's a better viewing option - Tony Scott's Man on Fire. The British-born Scott debuted two decades ago with The Hunger. Critics weren't endeared to it, but its surreal mood is cool (aside from casting rocker David Bowie and ravishing French actress Catherine Deneuve as vampires).

That surreal factor is what also makes Man on Fire hot (for at least two-thirds of its running time), as it transforms Mexico City into a melancholic fortress inhabited by jaded people. Magic realism is an appealing trait of Mexican Cinema, which Scott seemed to be aware of because at certain scenes, moviegoers would be confused if the setting is Mexico City or Los Angeles.

Creasy (Denzel Washington) is a lost man, but whenever Blue Bayou is played, there's a feeling that Linda Ronstadt is somewhere in the background providing him with the will to live. Enter Pita, whom he is hired to protect and sparks some hope in Creasy such that he no longer listens to the depressing Blue Bayou when they get along. Dakota Fanning plays Pita and she is casted once more as a kid who speaks like an adult. Be the judge if you love her or sick and tired of her playing the same role again.

The producers claimed that the relationship of Creasy and Pita is similar to Belle and the Beast (of Beauty and the Beast), which is true for nearly half an hour, but Fire mainly focuses on the rampant kidnappings in Mexico. In the movie's case, Pita's abduction turned Creasy into Charles Bronson (of the Death Wish series) - or the avenging bride in Kill Bill (for those who haven't seen much 70s pictures).

The only things going against this film is it's too long and it's a remake (the original stars Scott Glenn), but both can be overlooked because after a long while, Tony Scott came up with something good and watchable. This is one rare moment when Hollywood blockbusters rule and so-called “art” films stink.

(First published in Inquirer Libre on April 28, 2004)

Jeffrey Jetturian's favorites

Jeffrey Jetturian's video shopping list

Believe it or not, acclaimed filmmaker Jeffrey Jetturian doesn't have a video collection. Nevertheless, if he'd go shopping for videos, the director of Pila Balde, Tuhog and Bridal Shower said he'd grab the works of Chinese filmmaker Zhang Yimou. He admires Yimou's earnestness in films like The Story of Qiu Ju and The Road Home.

Jetturian also listed nine films he fondly remembers for their beautiful images. His choices reflect his picky stance on choosing the next film he would like to make (after the success of Bridal Shower, nine projects were offered to him, but he hasn't decided on which to pick). Here's Jeffrey's shopping list:

Alfonso Cuaron's Y tu mama tambien (Mexico, 2001): "I found it said because you'd think the teenage protagonists would have a solid friendship, but it turned out it wasn't solid. The film itself is a metaphor of Mexican society."

Alejandro Gomez Inarritu's Amores Perros (Mexico, 2000): "Dynamic ang camera. The interweaving of the three stories is innovative."

Majid Majidi's Children of Heaven (Iran, 1997): "It isn't a mainstream movie, but it's endearing."

Pedro Almodovar's Talk to Her (Spain, 2002): "Enigmatic, brilliant storytelling. Almodovar has a way with actors."

Francois Ozon's 8 Women (France, 2002): "I like any film with humor. Campy humor is hard to pull off, which Ozon did in this film."

Celso Ad Castillo's Burlesk Queen (Philippines, 1977): "Raw. I consider it Castillo's best work."

Lino Brocka's Maynila sa Kuko ng Liwanag (Philippines, 1975): "Brocka's best opus. The movie may be almost 30 years old, but a lot of things said about Manila still hold true."

Mike de Leon's Kisapmata (Philippines, 1982): "Effective and very well-done for its genre considering that local cinema is not known for it."

Eddie Romero's Ganito Kami Noon, Paano Kayo Ngayon (Philippines, 1975): "I like it for its illustration of the Pinoy's innocence, trustworthiness and spirit, which is for our endearing quality and could be our country's saving grace."

(First published in Manila Times on April 16, 2004)

The Passion of the Christ (2004)

Bishops recommend The Passion of the Christ after advanced screening

MANILA (UCAN) - Philippine bishops who watched the advanced screenings of The Passion of the Christ have commended the producers and recommended the film to Filipinos of all faiths.

Warner Brothers Pictures, which is distributing the film about the last 12 hours of the life of Jesus, staged special screening of the movie directed by Mel Gibson. It was shown last March 8 in a Makati Cinema cinema, which is just southeast of Manila, and in a theater in Ortigas Center, which is not far from Makati.

Media reported some Vatican officials recommending the film after a screening for them in December. But a report that Pope John Paul II endorsed it was denied. The movie opened in US theaters on February 25, Ash Wednesday.

Archbishop Gaudencio Rosales of Manila told reporters who were at the Makati screening he hopes the film that shows “the reality of evil and the triumph of good” will awaken Filipino spirituality.

“I would recommend it to every Filipino who believes in goodness and accepts the reality of evil,” the prelate said, stressing that the movie not only shows the struggle against evil but also portrays “properly the goodness of the Lord”. The archbishop was impressed by the message “the Lord wanted to convey to every individual” through the film.

“As part of the history of Jesus, I would like all Filipinos to watch the film because it holds a promise for us,” Archbishop Rosales said in Filipino. “The suffering of Jesus is meaningful for us today, as we see in the suffering of the poor that calls us to respond,” he added.

“So, I congratulate the people who did this film,” the archbishop said.

The movie directed by Gibson, an Australian actor who has made no secret of his Catholic faith, has stirred debate in various countries. Criticism includes concern the film could stir anti-Semitism and disagreement with its casting a Caucasian in the role of Jesus.

Archbishop Rosales said those who criticize the portrayal of violence by Jewish people should realize that the basic aim is to raise awareness about growing violence in the world. “What they say about the anti-Semitism thing, it's only some people who want to raise an issue because after all, our Lord was himself a Jew,” Archbishop Rosales said.

Archbishop Fernando Capalla of Davao told reporters the movie brings one back to the essence of personal faith. “It makes us look at our faith” and realize “our sins are the reason for the pain and suffering of Jesus,” said the bishops' conference president.

The prelate, also convener of a bishops' dialog forum with Islamic scholars in the southern Philippines, recommended the movie to Christians and Muslims alike so both groups “could learn how Jesus died on the cross just to save people from sin.”

Viewers at the Makati screening included clergy, religious, lay Church and media people invited by the Catholic Bishops' Conference of the Philippines. The film will open in Philippine theaters on March 31, days before Holy Week.

Jesuit Father James Reuter, director of the Bishops' National Office of Mass Media, said the film is timely particularly for the Philippines, where more than 90 percent of the 76 million people are Christians. The film is valuable as an “ideal subject for meditation” during Holy Week and because Filipino Catholics are “deeply conscious of sin and very willing to accept Christ our Lord,” Father Reuter said.

Business and much else grinds to a half in many Philippine towns during Holy Week. Devotees re-enact the last hours of Christ, including his crucifixion, on streets in the northern Philippines, while around the country, parishes and basic ecclesial communities are busy with processions, confessions, traditional chanting of Christ's passion and other liturgical observances.

Various sectors such as the urban poor gather for their own street “Stations of the Cross” with special prayers adapted to their particular situation.

Freelance writer and film critic Francis Rex Alger, who was at the press screening of the movie at Ortigas Center, told UCA News, “The best aspect of the films is the lighting,” especially during the night scenes. “The use of the red color is striking, noted the critic, citing scenes where Jesus' eyes appeared red.

Alger, 33, is a volunteer member of pelikula@titusbrandsma. He said the movie commanded viewers at the Podium theater to complete silence then moved them to cringe and grimace during the bloody scenes, such as the scourging and crucifixion of Christ. At other times, he said, people applauded.

(UCAN report released on March 12, 2004)

Best Actress

My Video Library: Best Acting Moments of 12 Actresses

This short list of films featuring the finest acting moments by certain actresses started as a debate among film buffs in the Internet chat forum of a film club. Chatters gave a list of the best acting performances ever captured on film. I was unable to participate, as my list would have been dominated by foreigners, mostly from the old Hollywood era.

There are too many outstanding performances to be included but the list below are the ones that I don't mind watching it again and again.

Gone with the Wind (1939) - some may call it the greatest film ever made but what would imprint most to the minds of many is Vivien Leigh, who is enchanting in her Southern accent, the colorful dresses she wear and how she plays hard to get to Clark Gable's Rhett Butler. I almost forgot her memorable line, “As God as my witness, I would never be hungry again!”

Now, Voyager (1942) - Bette Davis often plays strong, scheming women but this one proves her versatility: a bespectacled spinster silently suffering from unsupportive loved ones is brought out of her shell by a kind-hearted psychiatrist. She found her self-worth and the courage to conquer the world. Yet she settles instead with a married man and helps his daughter overcome her shyness. Her reason? “Why ask for the stars when we have the moon?”

Woman of the Year (1942) - Unlike Davis, Katharine Hepburn can't play submissive characters and this movie amusingly shows why: Kate is a tough political commentator brought down to earth by Spencer Tracy and when love blossoms between them, she tries to hold on to him by struggling to learn domestic chores (e.g. separating egg yolks from egg whites using plates).

Anastacia (1956) - this movie was a triumphant return to Hollywood by Ingrid Bergman and for her fans, this first-class soaper about an amnesiac woman claiming to be the only royal survivor of the Bolshevik Revolution is considered her best. Her confrontation scene with Helen Hayes (as the Grand Duchess) is too good to be described.

Two Women (1961) - perhaps it's due to having lived through the Second War or coming from a less-privileged background but Sophia Loren shines whenever she plays women struggling through hard times. Her feline eyes are haunting enough in Vittoria de Sica's saga about a mother and her young daughter surviving WWII Rome.

Mamma Roma (1962) - cineastes would fondly remember Anna Magnani for her volcanic temperament and it shows in Pier Paolo Pasolini's early classic about a prostitute starting a new leaf for the sake of her son, whom she reunited with after many years.

Repulsion (1965) - have you ever wondered if there's more to Catherine Deneuve's ravishing beauty? Roman Polanski found out there is in his thriller involving a young woman losing her mind for suppressing her sexual urges. It's arguably the French actress' finest but it's curiously not in French production.

Who's Afraid of Virginia Woolf (1966) - Elizabeth Taylor may be most remembered for her personal crises and her multiple marriages but in Mike Nichols' debut feature, she puts away any doubts about her thespian capabilities. She, along with Richard Burton, George Segal and Sandy Dennis, shines in a night of bitter conversations and nasty spats.

The Prime of Miss Jean Brodie (1969) - long before she became Harry Potter's Transfiguration professor, Maggie Smith won the Oscar as an Edinburgh teacher whose eccentric teaching methods brought her fame - and her demise.

Breaking the Waves (1996) - the women in Lars von Trier's pictures are simple, pious ladies doomed to suffer from society's prejudices. Emily Watson's expressions of bliss and unwavering faith in the face of crisis would make any viewer soar high.

Children of the Century (1999) - famed Romanticist writer George Sand was being painted a slut by her critics but Juliette Binoche brought her justice in this film, as she portrayed her to be a lady ahead of her times. Put it in another way, Sand can be compared to TV's Murphy Brown and Samantha Jones (of Sex and the City): would the trio be admired and envied if they were men?

Me and my Shadows: Life with Judy Garland (2001) - not only Australian actress Judy Davis slightly resembles the late MGM star but she also captured her mannerisms and the other peculiarities that fans both loved and feel sorry for her.

(First published in The Manila Times on November 7, 2003)

Goethe video collection

Top 10 Reasons to View Goethe's Video Library

Unlike Alliance Francaise de Manille and Instituto Cervantes, which screen its video collection weekly, the video library of Goethe Institute (a.k.a. German Cultural Center) remains sheltered and unknown to many. Now here are 10 reasons on why film buffs should dig in this video goldmine:

10. The silent classics from the 1920s. Aside from Sergei Eisenstein's landmark Battleship Potemkin, Goethe has also the Expressionist must-sees such as Metropolis and Nosferatu. Their silent collection also boasts of less-popular works of Fritz Lang such as Die Nibelungen, an epic masterpiece of German mythology (almost 4 hours long!), and Dr. Mabuse, a two-feature noir on an underworld kingpin that perhaps inspired the mobster genre in Hollywood during the 30s and 40s.

9. East German Cinema. Not much is known about films from the former German Democratic Republic. Goethe has some samples such as The Legend of Paul and Paula and Solo Sunny, both of which are subtle satire on the hard life in the East that the Iron Curtain covered up for decades. Furthermore, cineastes have the chance to see Jacob the Liar, a Best Foreign Language Film Oscar nominee 25 years ago. Robin Williams also remade it a few years ago.

8. Recently-acclaimed German films. Caroline Link's Beyond Silence, Joseph Vilsmaier's Comedian Harmonists and Ivan Fila's Lea have been cited in international award-giving bodies and film festivals. Goethe gives viewers the opportunity to relish these pictures that are raved by not a few.

7. German films you missed at film festivals. Last year's line-up of the German Film Week is good, which includes Crazy and In July. For those who failed to catch it at Shangri La, there's another chance to see them at the center.

6. Tom Tykwer. Undoubtedly the most promising German filmmaker of recent, the thirtysomething Tykwer wowed audiences with Heaven (starring Cate Blanchett and Giovanni Ribisi). Known for his visually-arresting photography and his frequent tackling on the theme of fate, fans of Tykwer would be delighted to know that Goethe has his early works like Wintersleepers and Life is All You Get.

5. Franka Potente. After Marlene Dietrich, no German talent has gotten Hollywood's attention - until Potente came along. Regular viewers would remember her opposite Matt Damon in The Bourne Identity but she made head turns with the constant changing of her hair color (e.g. blonde in Anatomy and flaming red in Run Lola Run). That doesn't mean she's a slouch in the acting department, as her admirers can flock to Goethe to see how good she is in her debut work, the precocious comedy It's a Jungle Out There (1995). Her fans would discover in that film too her real hair color - black.

4. East Side Story. This is a documentary on Eastern European musicals, mostly from the former Soviet Union. What is most interesting is the musical numbers are undeniably Hollywood-inspired while the actors are singing the glories of Communism. It's impossible not to imagine Josef Stalin and his Red comrades secretly enjoying old Hollywood flicks while they publicly spit out anti-Western messages. The moral lesson of the documentary is capitalism prevailed in the East decades ago thanks to those classic MGM musicals.

3. Little-known German gems. A decade ago, Edgar Reitz made an ambitious TV miniseries about the political and social scene in Germany during the 60s. Second Homeland: the Chronicle of the Youth is more than 25 hours in running time and its video box consists of 13 tapes, each focusing on a certain character and theme. This series is recommended for those looking for depth in their viewing experience.

2. Recent acquisitions. Bella Martha (featured during last year's Cine Europa), A Map of the Heart, Grill Point, The Policewoman and England!.

1. One must pay 150 pesos. The cost is Goethe Library's membership fee good for a year. There are about 70 titles to indulge in and the fee is cheaper than frequent renting at video rental shops if you managed to watch more than 10 titles. Aside from viewing, one also gets to surf the Internet for an hour or two and borrow some books as well.

(First published in The Manila Times on October 17, 2003)

2003 CineManila Film Festival

Cinemanila: Four unsung gems

With more than 50 titles being screened at the Makati Cinemanila International Film Festival, and with ticket prices starting at P76, a moviegoer has to extra careful in selecting a film to see.

We caught the films that had been highly recommended by fellow film buffs (like Francois Ozon's mind-bending thriller, Swimming Pool), but we also did get to enjoy a handful that were low on hype and buzz, but high in quality. Here are the worthy ones you might want to check out:

Brief Crossing (France, 2001) by Catherine Breillat. The title pertains to a trip via the English Channel by a French lad. During the trip, he gets infatuated with an older English woman. She tries to resist his charms by saying hateful things about the male gender, but the attraction is just too strong.

Anyone not accustomed to French Cinema (all talk and no action) runs the risk of getting bored silly. Furthermore, if you're unfamiliar with director Catherine Breillat's works, than be forewarned. Judging from her other films (Romance X and Fat Girl), it's clear that the director loathes men. Brief Crossing has some good moments yet one is left wondering what the men in Madame Breillat's life are like.

Dolls (Japan, 2002) by Takeshi Kitano. A yuppie abandons his fiancee to marry his boss' daughter. It's for the sake of his career, but he deserts the wedding upon learning the original fiancee had lost her sanity and had attempted to commit suicide. He makes it up by going back to her and by also losing his own sanity. It's all for the sake of love.

Jack Clayton's Room at the Top (1959), with Laurence Harvey and Simone Signoret, comes to mind but whether or not it was inspired by the British classic, it's hard not to be captivated by his gorgeous shots of the northern isle of Hokkaido. The film's many symbolism are beautifully intertwined. In a way, Dolls is an eye-catching detour for Kitano, who made a name in both comedy and the gangster genre.

The Man Without a Past (Finland, 2002) by Aki Kaurismaki. The second in Kaurismaki's Finland Trilogy, it's about a welder named M who is robbed and badly beaten during a trip to Helsinki. He survives the attack, but suffers from amnesia. Only through the help of certain less-privileged folks and the generosity of the Salvation Army that he manages a fresh start.

Kaurismaki was honored at Cannes last year for this movie and the film was an Oscar nominee (for Best Foreign Language Film) early this year. Man is spiced with wry humor and the stoic expressions of the characters - a distinctive trait of a Kaurismaki picture - make it look even quirkier.

Public Toilet (Hong Kong, 2002) by Fruit Chan. This flick takes off with Dong Dong, who relates his strange life story. When he was a baby, he was discovered inside a public toilet and was thus nicknamed "The King of Toilet". He still hangs out in the same place with his foreign pals, who must learn to get used to the district's restrooms, which have no cubicles so that people can chat while urinating or defecating. The movie takes on a different direction when the friends part ways.

This film was shot in five countries (China, Korea, India, US and Italy) on digital video, and the resulting product ultimately presents the distinct features of the public toilets in each country. Hong Kong director Chan should be highly commended for this very original picture, where plot twists are substituted for assorted statements about people and society, all of which revolves around a lowly toilet. You'll never look at a toilet in the same manner again. Ever.

(First published in The Manila Times on September 3, 2003)

Kikujiro (1999)

Kikujiro: Takeshi Kitano's road movie
Eiga Sai 2003 highlights a film that shows the gentler side of a revered director

Japanese filmmaker Takeshi Kitano likes to use static shots that impart tranquility. Then suddenly, he jolts viewers off their seats by rudely interrupting the serenity with graphic violence. With Kikujiro, however, the director veers away from this usual style by displaying his endearing, gentle and funny side (he actually plays the title role). This marked difference is just among the many surprises Kitano has in store with Kikujiro.

Sonatine, his 1993 opus, blends comedy with the gangster genre. It's the film that endeared him to many film buffs, who consider it as Kitano's masterpiece, but this writer begs to disagree. The movie paved the way to what could arguably be considered two of his most memorable features: Hana-bi/Fireworks, which wont the Grand Prize at the 1997 Venice Film Festival for its lyrical and moving look at the mob's world, and Kikujiro, which was among the crowd favorites during the 1999 Cannes Film Festival.

Lead character Kikujiro is asked by his wife to accompany the 10-year-old Masao (Yuseki Sekuguchi) to Toyohashi, where the boy's mother supposedly resides. The child lives with his grandmother, and he's been yearning to see his mom, who's never been present in his life. However, the middle-aged guy is hardly the suitable companion for a lonely child. Kikujiro is irascible.

Before embarking on the trip, however, Kikujiro stops to bet at the cycling races. He loses all of the boy's pocket money, but the bad start is followed by the unusual road trip that has them encountering an array of oddballs. These include a young couple (who teaches them how to juggle oranges), a drifting writer and two motor bikers (whose leather outfits project a tough facade and mask a tender personality). In their own unique ways, each one of them makes Masao happy.

It's Kikujiro, though, who turns out to be the most amusing figure: grinning and flashing the peace sign instead of scolding a group of under-aged boys who are smoking. He then scoffs at a pair of young men imitating Gene Kelly and Fred Astaire. Yet shortly after, Kikujiro himself attempts to copy the duo's unforgettable tap routine.

Kikujiro isn't your usual road movie. Don't expect the protagonists to experience a catharsis in the end. On the contrary, Kikujiro is whimsical, less in-your-face and more laid back. It allows viewers to relish the lush scenery and the playful, and intimate touches set up by the inventive Kitano.

Kitano also has a great eye for beauty. The multiple framed shots of the writer's van from the eyes of a dragonfly and the reflection of Kikujiro and Masao dissipating in the circular motion of the mug wheel are remarkable. Then there's Joe Hisaishi's score, which is mostly played on piano. It's captivating to listen at first, but its repeated play is infectious and hypnotic that it's impossible not to smile whenever it's played. I've been humming it ever since.

Kikujiro makes an amusing diversion, but viewers familiar with Takeshi Kitano consider the film as one of his masterpieces. The filmmaker has cast himself against type; he's not the cool guy we saw in his previous works, which usually highlight his twitching face and tattoos. In Kikujiro, Kitano is warmhearted, sensitive and hilarious. It's like Robin Padilla playing John Puruntong. It's hard to picture Padilla doing it, but Kitano has done it.

(First published in The Manila Times on September 3, 2003)

Gene Cajayon

Gene Cajayon's Philippine debut
The Fil-American director talks about his acclaimed film The Debut

Suddenly, everyone who breathes movies are talking about Gene Cajayon. Until we met him last week at a press conference hosted by Columbia Pictures, we knew very little about Gene. We did know that his first film, aptly titled The Debut, which told the story of a Fil-American family, had won good notices in the US and garnered a number of accolades.

Thankfully, Columbia Pictures acquired the rights to distribute this independent film in the Philippines. So now Filipino audiences have the opportunity to see the film that made Cajayon, whom some film buffs hope would be our answer to Ang Lee.

During the media conference, Gene Cajayon described the debut in his film as not just a coming-out party for the lead protagonist's daughter. The party itself reveals much about the issues Fil-Americans have to cope with.

Gene is only in his early 30s, but he looked more mature than his actual age. It might be due to the film, which took him several years to put in the can. Making the film had been stressful, but he soldiered and kept his creative juices going. Tirso Cruz III, one of the stars, noted, "He's stubborn and he knows what to deliver".

The Debut tells the tale of Ben Mercado, a Filipino teenager trying to fit in with the Yanks and live the American dream. He comes of age, however, during his sister's 18th birthday party.

Ben could well be inspired by Cajayon himself, who is half-Filipino and half-Vietnamese. Gene was born in Saigon, Vietnam during the War to his Filipino father and Vietnamese/French mother. As an infant, his family migrated to the United States, and eventually settled in Orange County, California. Since childhood, Gene has had a passion for movies, and he says he is influenced by the works of Ang Lee and Spike Lee (no relation).

Gene attended film school at Loyola Marymount University in Los Angeles, where he began to work on The Debut. The latter was completed eight years later.

The director admitted that he took up Asian-American Studies to learn more about his roots. Gene could relate to the awkwardness and struggles that Ben goes through, but he insisted, "The story is more of an amalgamation of different Filipinos who grew up in the US."

He enlisted the help of many Filipinos to make his first feature a reality. One of them is Dean Devlin, co-producer of such big-budget Hollywood fare like Independence Day and Godzilla. Devlin helped Gene obtain a grant to help finance The Debut. "Asian-Americans aren't a big force in Hollywood at the moment, so it wasn't difficult to bump into each other," noted Cajayon.

Cajayon went on to assemble his cast. A family of actors, composed of Dante Basco and his brothers, were among the first to audition. Multi-awarded actor and director Eddie Garcia recalled that he was offered the part of the Mercado patriarch while doing a film with Janno Gibbs. He accepted the offer, as he was deeply honored to be part of the cast.

Gene, on the other hand, told the press he decided to cast Garcia after seeing him in one of his numerous military officer roles. Cruz and Gina Alajar, who play the parents, also auditioned.

Alajar see the movie as an opportunity to penetrate the international market, and a chance for foreign distributors to consider Philippine Cinema, which has been in a dire state since Lino Brocka passed away a decade ago. She relished working with her young co-stars, praising them for their professionalism.

The actress also believes that The Debut is the reason why American Adobo was made in the first place. However, the latter miserably failed to present an accurate look at Pinoys in the East Coast, so there's no comparison to speak of.

For Gene Cajayon, the trials have all be worth it, and he credits his cast for their dedication and for believing in this project. "It's both surreal and amazing to be sitting in front of you promoting the film," he exclaimed.

The movie had a limited release in the US, and with its $1-million budget, it shouldn't have a hard time making back its cost. It's not about to make the director and his cast richer, but Cajayon hopes the film will pave the way "for more features about Filipinos in America in the near future."

Indeed, The Debut is a welcome change from the Hollywood films that tend to typecast Filipinos as domestic servants (read: Her Alibi and Two Weeks Notice). Garcia agreed, "To get to the top of the stairs, one has to take the first step. Gene just did that."

Gene is presently preparing his next project, Nickle and Dime, which touches on the Asian-American gangs in San Francisco. Somebody asked if Cajayon is open to making a sequel to The Debut. His reply, "Why not? Perhaps Ben Goes to College?". Anything but Fil-American Pie.

(First published in The Manila Times on August 13, 2003)