PINILAKANG TABING

MABUHAY! BIENVENIDO! WELCOME!

2006-05-19T02:46:00.000-07:00

KILLER FILMS series:

100 movies you should see before you die

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This author is proud to be a contributor to www.yehey.com, SUPERBRANDS 2005 Awardee.

Most of the film reviews here are published in www.yehey.com/entertainment/movies.

PERHAPS LOVE (2005)

2005-12-14T11:35:00.000-08:00

Genre: Drama/Romance
Director: Peter ChanStarring: Takeshi Kaneshiro, Jacky Cheung,
Director: Peter Chan
Starring: Takeshi Kaneshiro, Jacky Cheung, Zhou Xun, Ji Jin-Hee
RunTime: 1 hr 47 mins
Released By: Shaw
Rating: PG

Opening Day: 8 December 2005

Synopsis:

A movie-within-a-movie, featuring a love triangle plot that parallel between several actors’ lives. Jealousy, hatred and passion ignited by memories of the past, collide and culminate through the intervention of a seasoned heavenly being, a modern Cupid, who shares their joy and sorrow.

JOYEUX NOEL (2005)

2005-12-12T07:34:00.000-08:00

When war breaks out in the lull of summer 1914, it surprises and pulls millions of men in its wake. Nikolaus Sprink, exceptional tenor at the Berlin Opera House, will have to give up his prestigious career and the one he loves: Anna Sorensen, soprano and singing partner... Palmer, Anglican priest, has volunteered to follow Jonathan, his young church aide. They leave Scotland, one as a soldier, the other as a stretcher-bearer… Lieutenant Audebert has had to leave his wife, pregnant and bedridden, to fight the enemy. But the Germans now occupy the small town of Northern France where the young bride has probably given birth. Unless the worst has happened…. Having no news is the suffering which haunts Lieutenant Audebert’s every night…And Christmas arrives, with it’s snow and multitude of family and army presents. But the surprise won’t come from inside the generous parcels which lie in the French, Scottish and German trenches.That night, a momentous event will turn the destinies of Nikolaus, Anna, Palmer and Audebert around. Because the unthinkable will happen: rifles will be left at the bottom of the trenches to go, candle in hand, to see those opposite, shake their hands, exchange a cigarette and a piece of chocolate, wish them "Merry Christmas"...

Release Date: March 3, 2006 (NY, LA)
Studio: Sony Pictures Classics
Director: Christian Carion
Screenwriter: Christian Carion
Starring: Diane Kruger, Benno Fürmann, Guillaume Canet, Gary Lewis, Dany Boon, Daniel Brühl
Genre: Drama, War

Data from www.comingsoon.net Visit official site here.

A NEW ADDICTION

2005-12-09T09:03:00.000-08:00

I have been sidelined for weeks from watching any new movies except JUST LIKE HEAVEN (Rob's Place Manila) because of, uhm, a Korean soap entitled JEWEL IN THE PALACE. Because I can't stay until 9:30 PM every night just to watch the series, I availed myself of a 19-set DVD box courtesy of my favorite suki in RFC Mall just 4 blocks from my house. I have been hooked ever since. I'm currently on the 6th CD yet.

No, it's not the interminable plotting between warring families inside the royal court of the Chosung (or Joseon) dynasty that got my attention (it was pretty much becoming irritating already) and neither was it the lead character Jang Geum's underdog status. It was the food. Yes, the food preparation which is central to the story of this real-life Korean saga. The focus on food, its preparation, and its relation to health maintenance is just amazing. An interesting insight is also given to the apparent power of the Chinese court and Korea's relations to China during this particular period. The arrival of the Chinese Ambassador is always a cause of great consternation among the kitchen staff as he is known to be so picky with his food that heads are known to have been lost if he was displeased.

The TV miniseries Daejanggeum, or Jewel in the Palace, which first aired on MBC from September 15, 2003 to March 23, 2004, set many new records. The miniseries, whose viewer rate averaged 47%, and even reached a high of 57.8%, is based on the story of a real historical figure (Jang-geum) who was the first and only woman to serve as head physician to the King in the rigidly hierarchical and male-dominated social structure of the Joseon Dynasty.

Daejanggeum, in English, “the Great Jang-geum,” caught the attention of Korean TV viewers with its unique combination of two themes: the successful rise of a female, which is rarely covered in historical genre, and the elements of traditional food and medicine. Now that it is here in the Philippines, I hope Filipinos will find time to watch it and learn more about our neighbor in the north. Read more about it here.

A CHORUS LINE (1986) AND FUNNY LINE (1968)

2005-11-30T08:03:00.000-08:00

Finally saw A CHORUS LINE and FUNNY GIRL today after I woke up from another horrible night of work. I agree with JGC that A Chorus Line (1986) is a boring film, saved perhaps by some really great songs and wonderful choreography. Some of the songs you'd easily recognize would be "One", "What I Did for Love", and "Nothing", the latter being a mainstay in any Lea Salonga concert performed to obviously spite her former detractors.

I found Funny Girl (1968) very amusing in many parts. Streisand's first foray into film (which won her the Academy Award for Best Actress in 1969) was just a reprise of her role in Broadway. Story has it that Shirley Maclaine was first considered for the role but producer Ray Stark insisted on Streisand.

Familiar songs from the film were Streisand classics "People" and "Don't Rain On My Parade".

A huge THANK YOU to Steve A. for lending me these DVDs.

CINEMALAYA 2006

2005-11-30T07:51:00.000-08:00

Because of the success of last year's 1st Cinemalaya, the CCP has decided to forgo of the supposedly 2-year wait to start the 2nd Cinemalaya next year, July 17 to 23, 2006!

For film lovers in Manila, this is good news indeed but more so for the Philippine film industry. The most-remembered entry of the lot, 'Ang Pagdadalaga ni Maximo Oliveros' is opening for a commercial run next week, and will compete in Sundance, Hong Kong, and San Fransciso festivals!

Check out the film goodies awaiting you in next year's festival here.

ILUSYON (2005)

2005-11-23T19:40:00.000-08:00

Was rushing to Rob's Place Ermita last night to catch ILUSYON, a film by Ellen Ramos and another director whose career i've been following - Paulo Villaluna.

Set in 1958, Ilusyon tells the story of Miguel, a young man from the countryside, who decides to visit his father, Pablo, a Modernist painter in Manila. Upon his arrival, he discovers that his father has decided to leave for the province to heal from depression after the death of his wife and Miguel’s mother. Miguel opts to stay in Manila for a vacation – where he finds a job as house painter and realizes that city life might fit him well. One day, he meet Stella, a nude model originally scheduled to pose for Miguel’s father. Struck by her beauty, Miguel does the unthinkable – he pretends to be his father Pablo. He pretends to paint her and hides his doodles from the unwitting Stella. Developing a relationship based on a lie, things turn for the worse as Stella begets a strange skin disease that turns off Miguel. Surrounded by strange characters – a talking cow, a talkative mailman and a nosy landlady – Miguel driven into a frenzy realization about beauty, lust, love and being true to oneself. An ambiguous ending underlines the surreal tone of the film.

Based on a true story, co-written and line produced by maverick independent filmmaker Jon Red, Ilusyon is the debut narrative full-length film by award-winning independent documentary and animation filmmakers Paulo Villaluna and Ellen Ramos. Shot in 5 days with an approximate budget of only $16,000, Ilusyon is the second film produced by Digital Viva, the digital production are of Viva Films. Ilusyon avoids the melodrama specifications of the period drama as well as the hip maneuverings of the digital explosion in the Philippines, delivering a surreal and deliberately paced portrait of a young man caught in maelstrom of weird events. (Cinemanila 2005)

I can't say I had a wonderful time. It can be a bore in some places but the photography and the score will keep you up most of the time. Credit goes to whoever was in charge of these two things. None of the websites i've seen show their names, poor people. The whole affair borders on the avant garde. The musical numbers are very French, or should I say, LVN and Sampaguita? Still, the work looks sadly too dim on screen. Again, this is the result of transfering digital to 35mm. Robinson's should get a nice 10,000-lumen projector quickly!

This is the second film to get an A grade from the Cinema Evaluation Board after 'LA VISA LOCA' by the same outfit. I heard 'La Visa...' tanked at the tills. I hope 'Ilusyon' gets its due with Pinoy audiences.

SUPERMAN RETURNS (2005)

2005-11-21T04:07:00.000-08:00

View trailer here.

MINSA'Y ISANG GAMU-GAMO (1976)

2005-11-18T03:36:00.000-08:00

For us who have the faintest memory of the Marcos years, the closest thing to say would be that it's just like going back to Cory's time when the Americans were still here. With the spectre of a US-RP crisis looming on the horizon that will definitely come along with the trial of 5 or 6 (depending on the source of info) US Marines for the rape of a young girl from Zamboanga, one cannot just sit back and ignore it all.

By the way, I came across this photo during my search of something relevant to my topic today. This is a the cover of the VCD of 'Minsa'y Isang Gamu-Gamo' where the famous line "My brother is not a pig!!!" came from. You can click on it to enlarge. This was filmed in 1976 by Lupita Concio, a year after I was born.

OLIVER TWIST (2005)

2005-11-16T02:44:00.000-08:00

The production on Roman Polanski's OLIVER TWIST is finally over. This is the 4th version of the well-read social satire set in England's Industrial Revolution by one of my favorite authors of all time, Charles Dickens. To be shown in theatres in 2006.

XIU XIU: THE SENT-DOWN GIRL (1998)

2005-11-14T22:15:00.000-08:00

Xiu Xiu: The Sent Down Girl or Tian Yu is a movie based during the 1970s and the time of the People's Republic of China's Cultural Revolution's Down to the Countryside Movement, instituted by Mao for political reasons.

Xiu Xiu, a 15-year-old girl living in the city of Chengdu, moves out to study how to herd horses in the countryside of Sichuan and quickly discovers that she is never to return to her parents. She learns lessons about love and life as she struggles against corruption in the government to return to her family by giving officials her body for their sexual gratification, and deals with her caretaker, Lao Jin.

There are several instances when you wish you could confront Lao Jin regarding his non-action on Xiu Xiu's problems. Baffling as well was Xiu's decision to have herself shot (to death). This was hardly any way to escape her dilemma.

It's a very sad film but it gets your attention alright. In passing, I was reminded by Zhang Yimou's THE ROAD HOME, which was filmed during the same year. There's almost a parallelism between the two stories and Zhang Ziyi's role as Zhao Di was almost none the happier than Lu Lu's Xiu Xiu.

At any rate, Lu Lu became the youngest Best Actress winner in the history of the Taiwan-based Golden Horse Awards in 1998 for this film.

108 YEARS OF PHILIPPINE FILM

2005-11-13T02:52:00.000-08:00

Stills from VICTORY JOE (1946), LVN Pictures, 97 minutes B&W. Featuring Rogelio de la Rosa, Norma Blancaflor, Art Cantrell, Jose Cris Soto, Amelita Sol and Pilar Garcia

The Filipino Movie Industry is the youngest art form existing in Philippines. The Filipino Movies have evolved considerably over the years. In fact today it has become the most popular of all the other existing art forms in Philippines. The Movie Industry in Philippines began only in 1897.

Since the inception of the Filipino Movie Industry, the movies that have been produced have fallen into a wide range from the silent movies to the talkies. The Filipino Movie industry took over the other longer existing art forms of the country. It easily gained acceptance from one end of the country to the other end.

The viewers of the Filipino Movies came from all walks of life. The Filipino Movies reflect the culture and the beliefs of the people who are the prime audience of these movies. In fact it is the movies which shape the consciousness of the Filipino audience.

Since the 1930 were the early years of the Filipino Movie Industry it was more like a time of discovering film. It was a new art form at that time. The stories for the Filipino Movies came from the theatre and popular literature. And though the industry was fraught with heavy restrictions on the filmmaking, nationalistic films were still in vogue.

The 1950s marked the Golden Years for the Filipino Movie Industry when the movies matured and were artistic. The 1960s brought about a lot of positive changes in the Filipino movie industry, but at the cost of artistic decline. In the 1970s and 1980s there were positive and negative changes.

Now, in the new century, the industry is engaged in a muddle of genres, plots, characterization and cinematic styles. Filipino Movies, in short, have reached a full circle.

(Source: Filipino Movies and Film Resources)

NEW TITLES IN THE FILM LIBRARY

2005-11-12T22:18:00.000-08:00

At least twenty (20) new titles join the ever-growing collection at The Film Library today. Maybe the target of 1,500 titles by the end of the year wouldn't be such a far-fetched goal after all.

Lots of European titles this time, a smattering of Chinese films (and finally, an 'IN THE MOOD FOR LOVE' dvd!), and several pink films. The problem with the latter is that most are overrated but almost always turn out really bad, bad stories.

Will make a list soon of these new titles. And yes, the latest film from Gus Van Sant.

Other Gus Van Sant titles in the Library:

Goodwill Hunting (1997)
Psycho (1998)
Finding Forrester (2000)
Elephant (2003)

ME AND YOU AND EVERYONE WE KNOW (2005)

2005-11-12T02:38:00.000-08:00

Finally got a copy of this hilarious film, a unique take on contemporary life and the ongoing struggle people have while connecting with others.

Awards:
Cannes Film Festival (Critics Week Grand Prize, Golden Camera, Prix Regards Jeune, Young Critics Award)

Sundance Film Festival (Special Jury Prize)

Visit the site here.

CESAR MONTANO WINS IN BRUSSELS

2005-11-11T18:17:00.000-08:00

Cesar Montano won the Best Director plume in this year's Brussels International Festival of Independent Film. His entry 'Panaghoy sa Suba' (Cry of the River) also won Best Film.

Read the rest of the story here.

HAPPY 40TH ANNIVERSARY!!!

2005-11-10T18:14:00.000-08:00

The most beloved musical of all time celebrates its 40th anniversary with a double-disc DVD with never-before-seen footages.

DOUCHES FROIDES (2005)

2005-11-04T03:20:00.000-08:00

A Cannes entry, it is a story of three teenagers: a beautiful girl, Vanessa, and two boys, Mickael and Clement, one rich, one poor. The story of Mickael - judo fanatic and doomed lover - and his parents, both convinced that the sky will one day come crashing down on their heads, and both more than able to cope when it does. Blackly comic, brutally funny, heartbreaking, truthful. A tragi-comedy. About happiness and hardship, sex, luck and catastrophe.

Directed by Anthony Cordier. Visit the site here.

SAVING FACE (2004)

2005-11-03T02:53:00.000-08:00

A Chinese-American surgeon, living in Manhattan, is shocked when her single mother shows up on her doorstep pregnant. To help her mom save face and avoid the taboo in the Chinese community of an unmarried woman pregnant, the doctor helps her mom find Mr. Right. The thing is she, too, has something she's keeping from her Mom!

An enrty to the Sundance and Toronto festivals, it explores culture shock, acceptance, love and family. Reminds me so much of THE WEDDING BANQUET! This is director Alice Wu's first film. The story is based on her own coming-out book.

So nice to see Joan Chen again, who I saw last in THE LAST EMPEROR. Visit SAVING FACE here.

FLIGHTPLAN (2005)

2005-11-02T17:23:00.000-08:00

FLIGHT OF FANCY, NOT!

I already sensed it from the trailer: this was Panic Room, Airborne Edition. The similarity is uncanny save for the setting but I won’t let this dampen my mood because this was one film I have long waited for.

Quintessential actor Jodie Foster plays a grieving widow named Kyle Pratt on a flight to New York from Berlin with her six-year-old daughter Julia (Marlene Lawston). In the jetliner’s cargo hold is a coffin, and in the coffin is the body of her husband who supposedly died last week under accidental circumstances. Kyle has quit her job as a propulsion engineer in Germany, and is returning to the United States on the very aircraft she helped design to spend time mourning with her parents.

Three hours into the transcontinental flight, Kyle and her daughter fall asleep. When she wakes up, Julia has vanished. Kyle calmly walks around plane but Julia can’t be found. Kyle talks to other passengers, the stewardesses, and they all claim not seeing her or remember seeing Kyle go onboard with a child. Kyle starts to panic, and demands to see the Captain (Sean Bean) who informs her that her daughter isn’t on the passenger manifest – they even produced a death certificate claiming she died with her father - and that as far as they can tell, she was never on the plane to begin with.

From this point on, Jodie’s mind – and ours – start to race. We all saw her board the plane with Julia, and they even had an intimate mother-daughter conversation before the flight. What’s going on? Already emotionally devastated by the unexpected death of her husband, Kyle desperately struggles to prove her sanity to the disbelieving flight crew and passengers while facing the very real possibility that she may be losing her mind. While neither the plane's Captain Rich, nor Air Marshal Gene Carson (Peter Sarsgaard) want to doubt the bereaved widow, all evidence indicates that her daughter was never on board, resulting in paranoia and doubt among the passengers and crew of the plane. Finding herself desperately alone, Kyle can only rely on her own wits to solve the mystery and save her daughter.

A Robert Schwentke debut film, the German indie filmmaker turns in a rather emotionally draining, mind-boggling thriller that approximates an earlier Foster-starred film, Panic Room (2002), but this time while cruising at 30,000 feet in the air. The audiences are made to think that she is crazy, what with her emotional lability compounded by being on antidepressant medication. This game is played for about a third of the 98-minute film until a sharp turn in the latter half of the story makes it all clear to us: the “disappearance” of Julia is a cover-up for a much-bigger menace onboard!

The film is intense and the performances, as you’d expect from this kind of cast, are absolutely stellar. You also cannot be blamed if you start becoming wary of flight attendants from hereon, but the crew was very good in coming across as rude and unhelpful. Throw in a little suggested hanky-panky between two flight crews – and in the middle of the search at that – and the picture is complete. No wonder flight attendant unions all across the globe are up in arms over the portrayal of FAs in this film.

Jodie Foster lends credibility to a frenzied role that has her pulling at extremes. She occupies her role so fully that some moments of the film really shine with tension and anxiety. Director Robert Schwentke really knows how to move the camera and keep a steady rhythm, and the film is better for the talents of the rest of the cast and James Horner's cool, restrained score.

The first half of the film does an excellent job of keeping the audience in suspense. Pratt's sanity is definitely in question, as are her motives and the motives of the crew. Post 9/11 anxiety is also exhibited with a bite at profiling poor Arab passengers as those who took Julia, and there’s no attempt anywhere in the film to apologize for this lapse in judgment.

Nevertheless, the film is taut with excitement running an all-time high in several instances, but sometime it can be a little bit of a drag. The ending, however, is a major head-scratcher and may appear to have wasted the entire film. Maybe after going through an overly complicated plot, the writer just wanted to end it on a rather safe fashion. Talk about total lack of imagination.

Suffice to say that the musical score and cinematography saves the day for ‘Flightplan’. Credits go to Florian Ballhaus of ‘Gangs of New York’ fame for the latter. He has created a look of soothing airline lights in blue and reflective colors which are just perfect for a thrilling experience.

In the end, ‘Flightplan’ is a wild, escapist trip that challenges all sorts of assumptions. One may approach this film with answers already in mind but Schwentke has made sure you’d realize this is not the same flight as the others. And what a ride it had been!

Catch the official opening on November 6 at your favorite cinema.

MY FAVORITE TOP TEN JAPANESE FILMS

2005-11-01T01:47:00.000-08:00

I have always been a fan of Japanese movies. In fact, I'm a newbie in this genre and most, if not all, works I've been exposed to are those by Akira Kurosawa, Japan's preeminent filmmaker. Thanks to Criterion Collection titles which are thankfully becoming widely available, and to my annual attendance to EIGA SAI, the twice-a-year Philippine-Japan Friendship Festival, I have been exposed to more and more Japanese works, even those by contemporary directors. Many thanks to my friend from the Japan Foundation, Mr Rudy Lagman, for the invitations.

Here are my top ten favorite films from Japan. For now. Not in any particular rank.

1.) DREAMS (Yume), 1990 Akira Kurosawa

2.) RED BEARD (Akahige), 1965 Akira Kurosawa

3.) DOLLS, 2002 Tekeshi Kitano

4.) Princess Mononoke (Mononoke-hime), 1997 Yuriko Ishida

5.) Nobody Knows (Daremo Shiranai), 2003 Kore-eda Hirozaku

6.) Seven Samurai (Shichinin no samurai), 1954 Akira Kurosawa

7.) Rashomon, 1950 Akira Kurosawa

8.) Tokyo Story (Tokyo monogatari), 1953 Yasujino Su

9.) Twilight Samurai (Tasogare Seibei), 2002 Yoji Yameda

10.) Zatoichi, all versions 1964-(Adventures of Zatoichi by Kazuo Mori); 1967-(Zatoichi The Outlaw by Kenji Misume), (Zatoichi's Vengeance by Akira Inoue), and 2003-(Zaotichi by Tekeshi Kitano).

A SASSY FLICK

2005-10-29T20:05:00.000-07:00

From television, the Korean invasion of the Filipino consciousness moves on to the silver screen with the Tagalog-dubbed Korean film, ‘Yeopgijeogin geunyeo’, or what is more popularly known as ‘My Sassy Girl’.

Released in 2001, ‘My Sassy Girl’ became the 2nd highest grossing film in 2001, and the 5th in Korea’s box office history. It was so popular that a remake by Dreamworks SKG is currently in the works under the direction of Gurinder Chadha (of ‘Bend it like Beckham’ fame) and is due to be released in 2006.

‘My Sassy Girl’ is based on an on-line serial written by Kim Ho-sik that detailed his relationship with his slightly unhinged college girlfriend. This was eventually compiled into a best-selling book and caught the attention of director Kwak Jae-young, who wrote the script for the film.

The story kicks off with college student Kyun-woo (Korean pop singer Cha Tae-hyun, in his feature film debut) crossing paths with a drunk girl (Jeon Ji-hyun) on a late-night subway. She was so drunk that she –excuse me – vomited over one of the passengers. Just before she passes out, the girl looks at Kyun-woo and calls him 'honey'. The other passengers, assuming him to be the hapless girl's boyfriend, demand that Kyun-woo look after her. After carrying her on his back for what seems to be miles, Kyun-woo drops the girl off at a motel. But instead of leaving her and getting on his way, Kyun-woo finds himself intrigued by the nameless girl and vows to do whatever he can to heal her sorrow.

But Kyun-woo didn’t have any idea what he was in for. The moment the girl woke up, all hell broke loose. She is an irreverent, unapologetic girl – hence “sassy” – who has the tendency to be paranoid, extremely violent, and weird - all of which ran counter to her sweet countenance. She’s a demon in angel’s clothing, waiting to pull the next rug under Kyun-woo’s feet. Unfortunately for us, she remained unnamed throughout the film and we can only shake our heads at her off-the-wall antics.

The work is divided into two parts: the first is where Kyun deals with Jun’s eccentricities. This portion covers the character buildup part. The second is when they realize that they are falling for each other. This is when the film slows down to focus on the characters’ inner feelings – that Jeon’s bizarre attitude is just her way of masking her personal fears arising from a past experience of a sad relationship (her ex-boyfriend drowned in a lake) and the fear of getting burned when she decides to get into one again. Audiences will find a little bit of themselves in this film which, despite the many clichés, can be one amusing and heartwarming thing to see.

The fact is, ‘Sassy Girl’ can also be quite irritating to watch if you’re not one who relishes slapstick comedy, but given Korean culture where the young can actually be as boisterous as Jun Ji-hyun’s character (the popular soap ‘Sweet 16’ on GMA7 is one affirmation of this observation), perhaps we have to accept this kind of behavior as something that is pretty much normal. Add to this Kyun-woo’s perennial constipated look which makes one wish he were being slapped more often than what is necessary. However, for the very observant, the film has its own Easter eggs. The elements of coincidences and symbolism are very important aspects of Korean cinema and they are very well used – and extensively at that - in ‘Sassy Girl.’ It’s up to you to find out what these are.

This film marks the return to the screen of director Kwak Jae-yong after close to a seven-year absence. Actress-model Jeon Ji-hyun followed this film with ‘Windstruck’ but it wasn’t as popular in Korea because it looked similar to ‘Sassy Girl’, but it was a major hit in Japan.’

‘Sassy Girl’ combines all traditional elements of a romantic comedy – melodrama, slapstick, and parody rolled into one distinct cultural presentation of present-day Korea. Catch it in major cinemas this week!

VISITING THE MOWELFUND

2005-10-28T05:35:00.000-07:00

I haven't had the chance to visit this Erap creation until last Tuesday when I picked up a nice gift from Barnard Miranda, currently the in-charge of the newly-opened Mowelfund Museum of Film History.

I didn't bring my camera during my visit because I though it wasn't allowed to take them inside but since there hardly are any stuff like paintings that will be affected by a camera's flash, i'd be bringing one next time I drop by again.

I also got to visit their work spaces and got to peep inside Nick Deocampo's nice office. Along the way, however, you will notice certain things that are out of the ordinary: The building is generally spooky. Wires are left hanging out of unfinished ceilings, and doors open to empty rooms. Dust is everywhere. And that smell...something that's like vinegar but not quite.

Being the keen observer that I am, I realized it was coming from - horrors - rotting film. Reels upon reels of them. Some are in their reels, some have been unspooled (or whatever it is you call them in that state), while several dozens are still in their cases.

I do recall having read somewhere that these have been moved here from the defunt Manila Film Center, the archives of which have been flooded many times before aside from the fact that the building has been condemned long ago.

It was a heart-breaking scene too see all these films lying about in several rooms with the windows open. I know for a fact the Institute is in deep shit. I mean, whoever brought these films here perhaps might also have a budget in mind to fund their restoration and storage?

Barnard informed me that several of these have already been restored and are now kept in an airconditioned room somewhere in this 5-story building. Also, kudos to Deocampo for finding mint condition copies of films like ZAMBOANGA (1936), which opened last year's Pelikula at Lipunan, and TAGUMPAY NG MAHIRAP. The former featured Fernando Po, Sr. and the Rosa de Rosario, best remembered as the first Darna. The latter was a biopic of former President Dado Macapagal.

If anyone from the Institute find themselves accidentally reading this, please forgive me if I upload some photos by November. Think of it not as a way of pissing off or embarrassing you guys, but to raise awareness and consciousness regarding the sad state of our film archives.

Who knows? Somebody who might be able to help might read this entry soon enough.

Visit the Mowelfund Film Insitute here.

MASAHISTA (2005)

2005-10-27T07:34:00.000-07:00

Saw MASAHISTA (The Masseur) tonight at the Gateway Mall and theatre 4 where it was shown was three-fourths empty on its last day in Manila despite the high-profile media blitz resulting from its winning the Golden Leopard at the Locarno Film Festival.

I am at a loss if I should even write this. I was severely disappointed with the film, and yet all reviews I’ve read – from Business World's Doy Ariola (Thanks, Sir Ariola!) to Philstar’s Butch Francisco’s, sang its praises! Is there something they saw in it that I didn’t?

‘Masahista’ generally is a ‘quiet’ film despite its risqué topic, with moans, grief, and lotion slick as the sounds that reverberate in its 80-minute run. Transferred to a 35mm frame from a digital medium, the film has a somber mood to it owing perhaps to the topic at hand: abject poverty that has driven a 20ish boy to take on a job as a masseur in Manila servicing an all-gay clientele. Aptly called “Club Maharlika,” (“maharlika” means “a free man”, by the way, and I hope the comparison is not lost to audiences) the parlor is home to several brawny masseurs from Pampanga and Cebu who have their own reasons for doing the job.

With this theme in mind, one cannot help but remember the great Lino Brocka and his milestone works MACHO DANCERS (1988) which launched the career of his newest discovery, Allan Paule, and MANANAYAW (1988) which had greenhorn Philip Salvador essaying the lead role. Together with Mel Chionglo’s SIBAK (1995), these were among the first and only Filipino films to be sold in Europe for the longest time, and may have forever formed that continent’s image of the Philippines.

And along comes ‘Masahista’, the most recent Golden Leopard winner for Video (along with Canada’s LES ÉTATS NORDIQUES) at the 58th Locarno. Incidentally last year, we sent O’Hara’s BABAE SA BREAKWATER to Cannes. It may have been lost to European audiences and Filipino filmmakers but we seem to be sending the same themes to Europe for the last 17 years! It’s already strengthening the image that not only have we not improved socially, we have even become worse.

Let me make it clear. My bone of contention with ‘Masahista’ basically lies on its technical aspect and the overexposure of scenes which depicted masseurs and their clients as they do their stuff in dingy cubicles. I agree with some reviewers that these scenes can be deleted or at the very least, tightened. In fact, I am shocked that a newcomer like Coco Martin agreed to do a scene where client Allan Paule gets to - excuse the term - butt fuck him. I am pretty sure no other young actor who is just starting out would have agreed to such a scene (try this with any of the Starstruck winners and see if they would!), and I salute Martin for his courage and for putting his career on the line.

The challenge for (poor) Coco Martin is that he should prove that he’s not another pretty face, and must do everything to move on to better projects less he suffer the fate of some of his costars –Paolo Rivero, for example – whose careers ended long before they even started. With pretty faces becoming dime-a-dozen these days but without enough exciting projects to work on, new and young actors will increasingly become prey to the sex(y) film genre: the classic fallback when all the rest of the Philippine film industry fails. It’s a sad truth with miles of reels as proof.

Also, I am rather surprised that CBCP and conservative groups neither raised a howl nor a whimper over this film, the scenes of which are far more lurid than Jose Javier Reyes’ LIVE SHOW (2001) which, if we all recall, resulted in its banning and the eventual resignation of MTRCB Chair Nicanor Tiongson. I suspect it’s the Locarno win that saved the day for ‘Masahista.’ With a PGMA congratulatory message to back it up, it was finally granted an R-18 without cuts.

On the technical aspect, there is that lousy translation job from Capampangan / Cebuano / Tagalog to English. I raised this concern during the CCP’s Cinemalaya but it seems that it is getting to be very difficult finding credible translators. Then there’s the sketchy photography. The OBB alone already makes you think this was one bad job from both the Photography and Editing departments.

Coco Martin: how will he move from here?

Using the often-used contrasting of two parallel events – here depicted as Iliac (Coco) servicing a client and the final service a son does for his dead father. I must admit it is an effective style but it is not enough to arouse sympathy nor does it make a strong statement. It must be the cynic in me or something, but I do have reservations about Father-son themes because of personal experiences.

The nuances of the Capampangan and Cebuano languages were captured well by employing actors who are primary speakers. Since I speak and write in both, it was a pleasant surprise to hear them used in a local film. Coco’s attempt at Capampangan, for example, was pretty much acceptable.

The sight of a horizontally-growing Jaclyn Jose makes me wonder why she is stuck with this kind of genre. I would have asked Allan Paule the same thing if I had the chance. While this is all nothing new to Ms. Jose, star of Chito Roño’s PRIVATE SHOW (1986) and TAKAW TUKSO (1986) by William Pascual, and who appeared as a prostitute in a Cinemalaya entry SARONG BANGGI (2005), I seriously wonder if she has more plans for her future other than starring in low-budget films. I know her, although not personally, to be a staunch supporter of new directors and new material and this may be the reason for her being a part of projects like ‘Masahista.’

Honestly, with a topic like this and despite the fact that it may not necessarily pander to the prurient, any gay man will find delight in watching ‘Masahista’. In fact, it appears to have been created to please this particular sector although it would be too sad if it were to be billed as a “gay film” from hereon because - and I say this without meaning to insult the community - the message of this film would be lost. If the orientation was meant to be a marketing ploy, this should very well pay off. I have yet to read about how well – or bad – it is doing in the box office. If Chris Pablo’s (supposedly) Wong Kar Wai-esque DUDA (2004) was able to make it (and it was far lousier than anything I’ve ever seen), ‘Masahista’ can, too although I’m making a rather bad comparison here.

Given the chance, I’d rather watch ILUSYON by Ellen Ramos and by another favorite director, Paolo Villaluna - also a scholar of Mowelfund like Mendoza - who is more known for his short film PALUGID (Margins). PALUGID is the 2001 Second Prize winner at the 24th Gawad CCP; Best Short Film at the URIAN, and an official entry to the Yamagata and Overhausen festivals. I saw it in a Pelikula at Lipunan festival in Cebu several years ago, and have sought out friends in Mowelfund to convince Villaluna to lend me the VHS copy for transfer to DVD. He said yes, of course, but I never got around to doing the transfer as he doesn’t work at Mowelfund anymore. Sigh.

“A filmmaker is an agent of change. I did PALUGID to change the representation of gay people from the ‘screaming faggot types’ to sensible human beings. To my mind, I was successful in that aspect because it broke barriers and achieved my goal,” said Villaluna in a 2003 interview with The Manila Times writer Archie Liao.

The opening scene of PALUGID

Sadly, this can’t be said of ‘Masahista.’ Just because it is based on reality does not mean it’s worth filming. There are excellent topics, and then there are tired ones. Revealing the inner workings of a masseur’s life is good but will not help them rise from their predicaments. Rather, films like this have the tendency to invite scorn, revulsion, disdain, and pity for the characters but not incite real efforts to get involved in movements to change society – which is what real filmmaking should aspire to.

Also, if Brillante Mendoza thinks he can cloth his seminal work with legitimacy by employing Paule or Jose, he is sorely mistaken. It will take more than stars to bring a film to a status worthy of respect. Brilliante Mendoza will eventually be judged by his succeeding works. We can just let ‘Masahista’ pass as an effort that paid off.

By the way, it is obvious by now that I’ve posted a lot of photos from the film in this entry, but this is just to show you what you may have missed (not much) by not watching it.

Brillante Mendoza’s next film, KALELDO (Summer Heat) will be shown soon. It stars Johnny Delgado, Cherrie Pie Picache, Alan Paule, Angel Aquino, Juliana Palermo, Lauren Novero, Criselda Volks and Rita Magdalena. Since I grew up in Pampanga, I think “kaleldo” simply means “summer” but I don’t want to argue with Mendoza’s translation because I’ve done enough bashing for a day.

_______________

Brillante Mendoza’s debut film The Masseur is an atmospheric account of a man who must deal with the death of his father after working the previous night at a gay massage parlor. Iliac (Coco Martin) must dress his father for the ceremony, but is more concerned with the well-being of his widowed mother. The night before, Iliac takes on a new client and the two discuss matters of life, sex and their parents. The sexual ambivalence of the sexual encounter juxtaposes with the delicate, religious nature of his father’s funeral, creating an innovative story arch while conveying the wisdom that one single day can decode a life. Mendoza uses dialogue sparingly, letting the rich visuals take center stage.

- 41st Chicago International Film Festival

ANG BABAE SA BUBUNGANG LATA (1998)

2005-10-26T11:35:00.000-07:00

"Babae sa Bubungang Lata (Woman On A Tin Roof) isn’t about films so much as it is about the people who make them. Not the directors or proucers or stars (as in Federico Fellini’s 8, or Francois Truffaut’s Day for Night) but the little people on the fringe… O’Hara works in the neo-realist tradition of Vittorio De Sica and Roberto Rossellini (a tradition Lino Brocka belonged to), but there’s also a touch of gothic in him. He stages much of his story inside the Manila North Cemetery, a vast landscape of tombs and crosses and silently weeping angels, where most of his characters – so poor they can’t afford a house – live. It’s a marvelous visual conceit, a brilliant coup de theatre: crawling among the mausoleums and monuments of famous dead presidents and statesmen, O’Hara’s little people struggle to survive."

- Review by Noel Vera, Critic After Dark: A Review of Philippine Cinema (Singapore: BigO Books, 2005).

CINEMANILA CLOSES TODAY

2005-10-25T09:40:00.000-07:00

At last. The 7th edition of the Cinemanila has come to an end, but plagued with the most irritating of flaws - the lack of proper scheduling is the best of the lot, if it can be described in such a manner.

Tikoy Aguiluz must have learned a lot by now from his past experiences as Festival convenor of this "Festival of festivals-my-foot". As someone who has been a faithful follower of the festival since its 3rd year, the problems of the past festivals were the following:

1.) Films trapped at the MTRCB office and can't be reviewed and classified in time for the festival, some of them never made it to the festival because of severe ratings (no thanks to sex or nudity);

2.) changing screening schedules without prior notice. Even if they have the right to do so without informing audiences, they must be reminded that the festival is being held during a work week and right smack in the middle of a business center, and people coming in from their offices attend because they have scheduled to see a specific film, only to be shown something else;

3.) choppy quality (remember how bad PRICE OF MILK turned out last two years ago? Must have been so embarrasing especially since the lead female actress from New Zealand was in attendance).

These are the only three I can recall for now. This year, something weird has happened. The Manila Film Festival was merged with the Cinemanila so there were two levels of competition happening: an international and a local level. Those who win in the Local get to receive an old MFF trophy, while those in the International will get the Bulol-inspired trophy. Hmmm... How will former winner Ana Capri, for example, equate her Best Actress win in PILA BALDE with A LA POBRE, A LA VERDE? Which one is the REAL Cinemanila award? Magulo, Mayor!

Best memories of past Cinemanilas? The Belgian selection during the 3rd Festival. Last year's THE BEAUTIFUL BOXER. One Vietnamese entry about a guava tree and the diaspora of a family (Scent of Guavas?). For bragging rights, we sat through the World Premier of the 5-hour BATANG WESTSIDE. This year, we saw a Korean invasion. I miss the Japanese films. Good thing I already have copies of DOLLS and ZATOICHI.

I hope the 8th Cinemanila gets its act together or else.

Capri does it again! Winning Best Actress (Local) for A LA VERDE, A LA POBRE. It can be recalled that during the 1st Cinemanila, she won Best Actress for PILA BALDE

The list of other winners are here.

YAWN...

2005-10-24T09:26:00.000-07:00

An Aliw award for Best Director for a Musical Play in 2004 must have emboldened Joel Lamangan to do a second attempt at theatre by launching PENIS TALKS RELOADED. I have had the chance of watching ALL ABOUT MEN last year on my birthday (courtesy of JGC) and well, I thought that would be the last we'd hear of the subject. Like Eve Ensler perhaps (the work of whom the play is trying to ape but unsuccessfully so) who only made one version of VAGINA MONOLOGUES, I was hoping ALL ABOUT MEN can now go down history as ALL ABOUT (GAY) MEN, period. Never mind the so-so moral lessons. There weren't much that could be life changing.

Read a scathing review of the play here by Gibbs Cadiz. You can't be faulted if you agree with what he wrote. Oh, trust me.

OFFICIAL PHOTOS OF CAST AND MODELS (Thanks to Dinno Erece)

UNTOLD SCANDAL (2003)

2005-10-22T11:38:00.000-07:00

By Dylan Yap Gozum, Yehey! Contributors

The Cinemanila International Film Festival closed today, October 20, with the de rigueur pomp and pageantry but it has reasons of doing so. Aside from winning the battle over delayed opening dates (moved to October from August), it also found itself a new host city. Manila, with its affable Mayor, was just waiting to take the Festival into its historic arms. With news of the replacement of the traditional Manila Film Festival with the Cinemanila, it appears that the Festival, currently on its 7th year, has found a permanent home.

Despite a lean list of films in competition (only 12?!), this year not only focuses on documentaries and indie productions, but also has a special place reserved for Korean films. The rather sizable body of work from Korea in this year’s Festival is in honor of Kim Dong-Ho, founder of Asia’s largest film festival in Pusan, who is attending.

In particular, Filipino fans of Korean shows will be delighted to know that Bae Yong-joon will appear in ‘Untold Scandal’, one of the opening films. The Asian face of Ray-ban, and famous in the Philippines for TV soaps like Winter Sonata and Hotelier, he takes centerstage in this period drama set in 18th century Korea.

No other name in Korea comes close to the mesmerizing power of Bae Yong-joon. His simple gestures make numerous Japanese middle-aged women swoon, faint and cry. A recent photo exhibit featuring his images in Korea and Japan drew unprecedented media coverage. Bae’s first film, ‘Untold Scandal’ (2003) is an adaptation of ‘Dangerous Liaisons’ (1988) and like the American original, the Korean version simply lives up to its title. Because of this, Filipino fans will definitely get the shock of their lives as Bae portrays an extremely different character from his television soaps.

Two nobles, Lady Cho (Mi-suk Lee) and her cousin Cho Won (Bae Yong-joon), dedicate their lives to the art of seduction and revenge. As her husband, Lord Yu, is about to take a new concubine, a young 16 year-old, the enraged Lady Cho proposes that Cho Won not only deflower the young bride-to-be for revenge, but also make her pregnant. But the bet becomes more interesting when Cho Won raises the stakes by adding Lady Jung (Jeon Do-yeon), the most notoriously virtuous widow in the land, to his list of conquests. With this, the scene is set for scandalous games and seduction veiled behind careful customs and traditions of the day. Cho Won doesn’t consider the seduction of a young innocent as much of a challenge and says he would prefer to focus his attention on Lady Jung as the target of his next conquest. Lady Jung, a lifelong virgin and a follower of the then-illegal Catholic Church, is moreover known as the “Gate of Chastity” making her more of a worthy challenge, and Lady Cho promises her cousin a prize should he succeed – herself. If he fails, he is to live the rest of his life as a monk. As Cho Won attempts his seduction of the virtuous lady through all manner of devious schemes, he discovers something about himself while Lady Cho looks for another candidate to be the instrument of her revenge on her husband.

The universality of Choderlos de Laclos’ scandalous 18th century tale of decadence and revenge, and its easy adaptability to just about any period in history (‘Cruel Intentions’ easily comes to mind), is transported by director E J-Yong back to the period in which it was written, 18th century Chosun Dynasty, with magnificent results. Despite the famous 1988 American version starring Glen Close, John Malkovich, and a very young Keanu Reeves, The Los Angeles Times describes ‘Untold Scandal’ as “…(a version of) the timeless Gallic tale of treachery, lust, and sacrifice (which) may be the best of the lot.”

Bae Yong-jun’s character as Cho Won holds its own candle to the original Valmont, though perhaps not as treacherous and demonic, but more human and realistic. Passion is written all over this film, and it is the element of true love that sets it apart from the other versions. The role of Lady Jung, the equivalent of Cecile Volanges (or is it Marie de Tourvel?), is done in a manner which elicits pity. Although her pain is palpable, the acting is not over the top. Oftentimes one is tempted to enter the screen and slap her silly, one realizes that it is really love that makes her endure and do what she does and goes through. Ah, the silly things love makes us do!

Rather like the American version where flesh and corsets succeed in capturing the sensuality as against the stiffness and formality of the period, this Korean version is even more explicit than any other version of the story ever made of it. ‘Untold Scandal’ truly has a charge and erotic frisson that more updated versions of the story had failed to generate. It doesn’t err on the side of modesty, that is certain, and ‘Untold Scandal’ lives up to its claims of being the naughtiest period drama ever, weaving a tale of uncontrollable love and passion among the nobility during the restrictive Chosun dynasty.

It has a very convincing cast and save for some studied acting, everyone plays their role admirably with restraint and subtlety where it is required and with gusto when the occasion demands. The cinematography is breathtaking and the profusion of colors and striking costume design lend vibrancy to the film. ‘Untold Scandal’ is one elegantly-paced and structured film, with an ending that is original, moving and beautiful.

‘Untold Scandal’ first gained media attention when it replaced ‘2046’ (2004) as the closing film at the Edinburgh Film Festival and has since taken the festival route around the world. Do catch it at the 7th Cinemanila International Film Festival which runs until the 25th of this month.

Visit http://www.cinemanila.com.ph/ for more details.

Comments are welcome at dylangozum@yahoo.com

SPRING, SUMMER, FALL, WINTER...AND SPRING AGAIN (2004)

2005-10-21T11:52:00.001-07:00

BIRTHDAY GIFTS

2005-10-18T05:31:00.000-07:00

I received these four original DVDs for birthday gifts. Already saw MY FAIR LADY, BAREFOOT IN THE PARK, and DUMA with my Mother. Thank you so much, JGC!

MY BIRTHDAY WISH

2005-10-16T03:46:00.000-07:00

My birthday wish, courtesy of Toothpaste for Dinner :-)

A COPY OF THIS FILM, ANYONE?

2005-10-14T05:36:00.000-07:00

Anyone who knows where to get a copy of this 1973 classic before a remake comes out?

CINEMANILA 2005

2005-10-11T05:12:00.000-07:00

Oh, my!!! Cinemanila 2005 has finally gotten its act together and has come out with a very nice new website. View it here!

The Festival opens on October 12 with Japan's HIDDEN BLADE and closes on the 25th with recent Cannes-winner BROKEBACK MOUNTAIN (USA).

Here's the list of Films in Competition:

Clean Olivier Assayas
(Canada/ France/ UK; 2004)

The Child Jean Pierre
and Luc Dardenne
(Belgium / France, 2005)

Frozen Land Aku
Louhimies (Finland, 2005)

The Beautiful Country Hans Peter Moland
(USA/ Norway, 2004)

In Casablanca Angels Don’t Fly Mohammed Asli
(Italy / Morocco, 2004

Rainmaker Ravi Bharwani (Indonesia)

The Kiss Hilde van Mieghem
(Belgium, 2004)

My Nikifor Krzysztof Krauze
(Poland, 2004)

The President’s Last Bang Sang-soo Im (South Korea,
2005)

Palermo Hollywood Eduardo

Pinto (Argentina, 2004)

Moolaade Ousmane Sembme (Senegal/ France/ Burkina Faso/ Morocco/ Tunisia, 2004)

Panaghoy sa Suba Cesar
Montano (Philippines, 2004)

ACTOR FEATURE

2005-10-10T05:01:00.000-07:00

Neil in 'Maximo Oliveros' (Photo by clang-fu on www.flickr.com)

NEIL RYAN SESE
Filipino

Last seen in ANG PAGDADALAGA NI MAXIMO OLIVEROS (2005), Cinemalaya Independent Film Festival. Before this, he was seen in AISHITE IMASU (2004). Currently doing a lead role at KANSER, staged by the Gantimpala Theatre at St. Cecilia's Hall.

CONSTANT GARDENER (2005)

2005-10-03T23:48:00.000-07:00

I saw THE CONSTANT GARDENER last Sunday at Power Plant Mall and its images still haunt me until today.

Beautifully shot in Kenya, Germany, Sudan, Manitoba, and London, THE CONSTANT GARDENER, based on a bestselling novel by John Le Carré, is an exciting mix of romance and spy thriller.

Ralph Fiennes stars as Justin Quayle, a low-level British diplomat who has always gone about his work very quietly, not causing any problems. But after his radical wife, Tessa (Rachel Weisz), is killed, he becomes determined to find out why, thrusting himself into the middle of a very dangerous conspiracy.

Jeffrey Caine's powerful screenplay alternates between flashbacks of Justin and Tessa's relationship and Justin's hunt for the truth, which makes him a target--although he doesn't know who is after him. Fine support is offered by Danny Huston as his close friend and confidant, Sandy; Bill Nighy as shady British official Sir Bernard Pellegrin; and Hubert Koundé as Arnold Bluhm, an African doctor who might have been a little too friendly with Tessa.

Meirelles's pacing is outstanding, switching effortlessly between political intrigue, action adventure, and love story. And Fiennes and Weisz give strong performances playing complex characters that will continually surprise the audience.

THE CONSTANT GARDENER is a thrilling tale from start to finish. (www.rottentomatoes.com)

Fernando Meirelles, easily remembered for his great work CIDADE DE DEUS (2002) has given us yet another masterpiece. This might be the film that has pushed back my dreams of joining the United Nations Organization someday. One is easily reminded by the very recent Food-for-Oil controversy that hounded the son of the UN General Assembly Chairman himself and you'd understand how close to the truth this film is.

If these things happen even in the Organization that nations established with so much difficulty over 50 years ago, where would be a safe place?

As the film says, nowhere. Nowhere is safe.

View the official site here.

PELICULA IV

2005-09-28T03:35:00.000-07:00

I started attending the annual Spanish Fiesta two years ago, but took the whole thing seriously only last year. In fact, I totally enjoyed last year's VERBENA (it was my 28th birthday!) at the Intramuros even if the Filipino flamenco dancers were outrageously boring, to say the least. I guess it is best to leave the 200-year-old art form to the Spaniards.

But over and above the Flamenco incident, everything else was a celebration of Filipino-Spanish artistry. I was able to see a theatrical version of Spanish poet Miguel Hernandez's work at the Carlos P. Romulo Theatre, and I found it to be very powerful and full of tension, so much like his own life. A book on Hernandez'z poetry is available, with translations in several Filipino languages (nice to know I can read in both Cebuano and Capampangan).

And what a paella fiesta it was at the Verbena! I will surely bring friends with me this year.

¡Fiesta! 2005 Festival Cultural Español opens today, September 28. Schedules for events can be found here. The film schedules are here.

Some of the titles are already available in Manila in DVD form. Will update you on that.

'THE MAID' HAS SERVED ITS PURPOSE

2005-09-24T08:17:00.000-07:00

Well, she's expected to stand out. I mean, she isn't the Philippines (brat)inella for nothing. And she can really be a great actress if she wants to, but as I've warned before, THE MAID, a Philippine-Singapore horror film production will be just that: the maid and the ghosts.

Let's not fawn over this film too much. It's just another horror movie.

Read Inquirer story here.

MAR ADENTRO (THE SEA INSIDE)

2005-09-21T09:25:00.000-07:00

By Dylan Yap Gozum for Yehey! Movies

“Dilegua, O notto! Tramontate, stelle! Tramontate, stelle! All’alba vincero! Vincero! Vincero!”
– Act III, Turandot by Puccini

“It is not that my conscience finds itself trapped in the deformity of my atrophied brain and numb body; but in the deformity, atrophy, and insensitivity of your conscience.”
– Ramon Sampedro, in an Open Letter to Authorities

Ramon Sampedro, a 55-year-old quadriplegic, is fighting an unusual battle – he wants to be allowed to die and Spanish courts would hear none of it. 29 years ago, a young Ramon miscalculated a jump from a cliff and broke his neck on the sea floor. He’s been bed-ridden ever since. Indeed, one would ask: is this enough to make one person ask to die?

Director Alejandro Amenabar departs from his usual horror-thriller genre made famous by ‘Los Otros’ (The Others, 2001) and ‘Abre los Ojos’ (Open Your Eyes, 1997) by delving into a work that deals heavily with the nuances of the human heart – a true story of former ship crew Ramon Sampedro who hogged the word’s headlines in the 1990’s for his request that he be allowed to die.

Amenabar’s ‘Abre Los Ojos’ became one of Spain’s highest grossing films ever, and even spurned a Hollywood version. With ‘The Sea Inside’, he seals his place as one of Spain’s most important directors. This is highlighted by the fact that ‘The Sea Inside’ pushed aside early favorite ‘La Mala Educacion’ (Bad Education) by Pedro Almodovar and won the 2004 Academy Award for Best Foreign Film. The film also got both the Grand Jury Prize and Best Actor plume at the 2004 Venice Film Festival.

Javier Bardem, easily the Spanish world’s favorite actor, gives off an air of dignity and intelligence and deserves every nomination and awards he got for the role as Ramon Sampedro. Bardem can also be seen in the Goya-winning film ‘Los Lunes al Sol’ (Mondays in the Sun, 2003), currently playing in the 4th Peliculá - Spanish Film Festival here in Manila.

Javier Bardem as Ramon Sampedro

Bardem is joined by two great actors Belen Rueda (as Julia) and Lola Dueñas (as Rosa), the two women in Ramon’s life. Despite Bardem’s powerful performance, he does not overshadow these two women, who played important parts during defining moments in Ramon’s life. Although Julia is not a real person and only represents the many women who sympathized with Ramon’s cause, the role of Rosa is. Also particularly touching were the performances of Mabel Rivera (as Manuela) and Celso Bugallo. Celso plays the role of Ramon’s older brother, Jose, who fought Ramon’s wishes every step of the way. There is no image as powerful as seeing a grown man like Celso weep in front of his defiant younger brother – a truly heart-breaking scene.

The imagination and the breathtaking countryside scenery that seem to characterize Spanish cinema are astounding, with ‘The Sea Inside’ an endearing and beautiful example of the lot. The image of Ramon soaring over the hills and plains of Northern Spain with Turandot’s Nessun Dorma as background was Vincero! Vincero, indeed! - a triumph (“vincero”) that Ramon achieves over his own helplessness even if it’s all in his mind. I suppose this is the feeling of real freedom, to be able to escape from our sickness and encumbrances. This is the freedom that Ramon Sampedro seeks, and eventually finds. Whether his means of achieving this is right or wrong is beyond our judgment. What matters is that he frees himself from what he considers his personal hell.

Perhaps this is what makes ‘The Sea Inside’ different from the usual euthanasia story; that it doesn’t employ shock factor. It develops from the feelings and thoughts of Ramon himself, thus establishing a nice connection with the viewers. It is something akin to that scene where boxer Maggie Fitzgerald (Hillary Swank) of ‘Million Dollar Baby’ asked her trainer, Frankie Dunn (Clint Eastwood), to let her be remembered as a great fighter and not as a paralyzed has-been.

Ramon Sampedro’s life can be compared to the praxis school of thought: action-reflection-action, self-determination versus coercion, rationality versus chance. His desire for, and achievement of, liberation has become the core of his very being. Oftentimes one is reduced to tears because a life is about to be lost – more so because life, as most of us know, can truly be painful and unfair. This film speaks to each one of us. Humor and joy are also part of this story because even if death is its central theme, life prospers everywhere else – in the birth of a new child, in Ramon’s nephew’s newfound friendship with his grandfather, and in the love rediscovered by the two women whose lives Ramon has touched and changed.

The real Ramon Sampedro as he makes a rare appearance in court to appeal his case

In the end, Ramon finally leaves his house to be with Rosa, the woman who earlier wanted to convert him into accepting life as beautiful, and now has become an accomplice to his wishes. Ramon died facing the sea – the very same sea he says that gave and took away his life. Even though the end was rather depressing, the whole film can be described as engrossing and even uplifting despite the morbid topic at hand. Without a doubt, this film will forever redefine life and living as we know it.

‘The Sea Inside’ is lined up for exhibition at the 7th Cinemanila International Film Festival from October 12-25. Visit www.cinemanila.com.ph for details. Comments to this article are welcome at www.pelikulatlipunan.blogspot.com

I JUST SAW

2005-09-16T04:40:00.000-07:00

I just saw CRIMINAL (USA) and UP AND DOWN (Czech Republic), both released in 2004. CRIMINAL is a very smart film, with enough tension to make you sit on the edge of your seat. UP AND DOWN is downright amusing, where a baby left behind by its stowaway parent finds its way into the hands of a group of human smugglers. The latter also deals with several serious issues that beset modern-day Prague.

Must see films during nice, rainy nights!

COMING SOON

2005-09-15T04:33:00.000-07:00

Yes, from the director of EATING OUT comes another work from Q. Allan Brocka. Coming soon.

NOW SHOWING IN THE LIBRARY

2005-09-13T06:30:00.000-07:00

CRIMINAL LOVERS (1999) by François Ozon.

Other François Ozon films in The Library:
Sitcom
8 Women
Swimming Pool

THE DREAMERS (2003)

2005-09-12T05:57:00.000-07:00

One of the most well-liked films (versus 'favorite') in The Library even if it was assailed by critics. It was showing in Singapore last year when I found a copy of it in Manila. There is no way one can be a film rat without seeing THE DREAMERS by Bernardo Bertolucci, he of THE LAST EMPEROR, LA LUNA, LAST TANGO IN PARIS and THE SHELTERING SKY fame. The four films just mentioned, of course, do not do justice to the film career of this Italian legend. His films are known for their rich visuals and unparalleled elegance in what may be an extension of his being a poet, which he was before he did films.

THE DREAMERS features Micheal Pitt, Louis Garrel, and Eva Green (last seen in KINGDOM OF HEAVEN as Sibylla). One will enjoy the games they play in which one acts out a character from a classic film and the rest tries to guess who and what film the character came out in. Several full frontals but the story is so much more engaging. Visit the official site.

The tumultuous political landscape of Paris in 1968 serves as the backdrop for a tale about three young cineastes who are drawn together through their passion for film. Matthew, an American exchange student, pursuing his education abroad in Paris, becomes friends with a French brother and sister duo, named Theo and Isabelle, who share a common love of the cinema. While the May 1968 Paris student riots--which eventually shut down most of the French government--are happening around them, the three friends develop a relationship unlike anything Matthew has ever experienced, or will ever encounter again. (Source: IMDB)

The director with the cast in the 60th Venice International Film Festival

Bertolucci films available in The Library:
The Last Emperor
The Sheltering Sky
The Dreamers
Last Tango in Paris

THE LIBRARY RECOMMENDS

2005-09-12T05:23:00.000-07:00

I saw KEN PARK (2002) early last year. I bought it after I read it in FOTOGRAMAS. My DVD copy is currently doing the circuit among friends. I think it is in Cebu at the moment. Banned in Australia and the USA (but only until August of 2003), there really is no likelihood of it being shown in Asia, much less in the Philippines.

Larry Clark, director of films that deals with troubled American youath, continue to shock people from all continents with his films'innate violence and uber-graphic sexual scenes normally involving very young people. KEN PARK, for instance, has non-stop sex scenes involving the three main characters (yes, a menage-a-trois on a slow Saturday afternoon). Makes one wonder how the kids can do all this stuff with a straight face. Tiffany Limos, who plays Peaches, is of Filipino ancestry. I only realized it when a scene showed several dolls in Filipiniana. You'd miss if you don't look hard enough.

I wish I could post photos here but I'm doing this blog in a public place, and the lady beside me is already covering half of her face with her hand (I bet she's actually peeking through it!).

Next time, guys!

Another Larry Clark title in The Library: BULLY (2001)

This one stars Brad Renfro, Nick Stahl and Micheal Pitt. Remember the latter in HEDWIG AND THE ANGRY INCH and THE DREAMERS? Very good character actor.

Larry Clark's new film is WASSUP ROCKERS and has already played in Toronto. This time, he's employing Spanish young people. This one, however, deviates from much of what Larry Clark is known for in terms of sex, but he remains to be faithful in his quest to portray the young in the height of their angst, search for self and fulfillment, with focus on both the narrative and the specific lives of his characters.

BROKEBACK MOUNTAIN WINS THE GOLDEN LION

2005-09-12T01:34:00.000-07:00

Despite the Asian assult at the 62nd Venice Interntational Film Festival, Cannes-rejected BROKEBACK MOUNTAIN by Taiwan-born director Ang Lee won the Golden Lion.

Anyways, read the rest of the story here. For the rather noisy presentation video of the cast at the festival, open here.

KEVIN SPACEY AS LEX LUTHOR

2005-09-11T01:26:00.000-07:00

I've never been a fan of SUPERMAN. BATMAN was more like my super hero because he doesn't have to use any superpower to quash his opponents, but seeing a favorite actor of mine, Kevin Spacey, star as Lex Luthor is something else.

I am pretty sure Spacey will give credence to this newest followup to the SUPERMAN series.

Are there no plans for a silver screen version of SMALLVILLE?

I JUST SAW

2005-09-09T04:16:00.000-07:00

For a shocking film that gives you enough time to recover for a little reflection, MYSTERIOUS SKIN (2004) is the perfect thing to sit down to. This got my attention because of one actor, Joseph Gordon-Levitt, whose performances I also saw in LATTER DAYS (2002) and MANIC (2001). Both films can be found in The Library. Read the film synopsis below.

"The summer I was eight years old, five hours disappeared from my life. Five hours, lost, gone without a trace..."

These are the words of Brian Lackey (Brady Corbet), a troubled 18 year-old, growing up in the stiflingly small town of Hutchinson, Kansas. Plagued by nightmares, Brian believes that he may have been the victim of an alien abduction.

Local Neil McCormick (Joseph Gordon Levitt) however, is the ultimate beautiful outsider. With a loving but promiscuous mother (Elisabeth Shue), Neil is wise beyond his years and curious about his developing sexuality, having found what he perceived to be love from his Little League baseball coach (played by Hal Hartley veteran Bill Sage) at a very early age. Now, ten years later, Neil is a teenage hustler, nonchalant about the dangerous path his life is taking.

Neil's pursuit of love leads him to New York City, while Brian's voyage of self discovery leads him to Neil - who helps him to unlock the dark secrets of their past.

Based on the acclaimed novel by Scott Heim, MYSTERIOUS SKIN explores the hearts and minds of two very different boys who come to find the key to their future happiness lies in the exorcism of their collective demons.

Visit the film's website here.

62. MOSTRA INTERNAZIONALE D'ARTE CINEMATOGRAFICA

2005-09-08T20:04:00.000-07:00

The world's oldest film festival opened last August 31 on an Asian note with the China / HK production SEVEN SWORDS by Tsui Hark.

The festival runs until September 10. More details can be had here.

Will an Asian bring home the Golden Lion?

'MAXIMO OLIVEROS' WINS IN MONTREAL!

2005-09-07T23:40:00.000-07:00

(Photo by clang-fu on www.flickr.com)

One of my ultra-favorite films in this year's first edition of Cinemalaya, 'Ang Pagdadalaga ni Maximo Oliveros', wins in Montreal!

According to the film’s screenwriter Michiko Yamamoto, Maximo Oliveros won in the Focus of World Cinema competition, bagging the top prize dubbed the Golden Zenith Award. The German entry, Truth or Dare, copped the Silver Zenith Award. An American film, London, won the bronze prize.

The event’s biggest winner was the Dutch/Belgium coproduction Off Screen, which won the festival’s Grand Prix Award. The winners were revealed during an awards show held Monday evening. The festival is now in its 29th year of existence.

MABUHAY ANG PELIKULANG PILIPINO!

My review of this film can be read here.

RECENT ADDITIONS TO THE LIBRARY

2005-08-31T11:57:00.000-07:00

Tokyo Story (1953), The Importance of Being Earnest (2002), and The Road Home (1999)

RECENT ADDITION TO THE LIBRARY

2005-08-31T11:41:00.000-07:00

Dare mo shiranai (2004)

Four siblings live happily with their mother in a small apartment in Tokyo. The children all have different fathers and have never been to school. The very existence of three of them has been hidden from the landlord.

One day, the mother leaves behind a little money and a note, charging her oldest boy to look after the others. And so begins the children's odyssey, a journey nobody knows. Though engulfed by the cruel fate of abandonment, the four children do their best to survive in their own little world, devising and following their own set of rules. When they are forced to engage with the world outside their cocooned universe, the fragile balance that has sustained them collapses.

Their innocent longing for their mother, their wary fascination toward the outside world, their anxiety over their increasingly desperate situation, their inarticulate cries, their kindness to each other, their determination to survive on wits and courage. (IMDB)

About Nobody Knows

141 minutes
35mm
Dolby SR
In Japanese with English subtitles

Awards
Best Actor Cannes Film Festival 2004

Festivals (2004)
London International Film Festival, Melbourne International Film Festival, Pusan International Film Festival, Rio de Janeiro International Film Festival, Vienna International Film Festival

PINILAKANG TABING RECOMMENDS

2005-08-31T11:19:00.000-07:00

Hedwig and the Angry Inch (2001)

Hedwig, born a boy named Hansel in East Berlin, fell in love with an American G.I. and underwent a sex-change operation in order to marry him and flee to the West. Unfortunately, nothing worked out quite as it was supposed to - years later, Hedwig is leading her rock band on a tour of the U.S., telling her life story through a series of concerts at Bilgewater Inn seafood restaurants. Her tour dates coincide with those of arena-rock star Tommy Gnosis, a wide-eyed boy who once loved Hedwig... but then left with all her songs.

COMING SOON

2005-08-31T11:13:00.000-07:00

At last. RENT is going the way of HEDWIG AND THE ANGRY INCH. What's next, THE ROCKY HORROR SHOW? At any rate, whipeee!

OPENING SOON

2005-08-29T21:50:00.000-07:00

Directed by Ron Howard

Writing credits: Dan Brown

Cast (in credits order)
Tom Hanks as Robert Langdon
Paul Bettany as Silas
Ian McKellen as Sir Leigh Teabing
Alfred Molina as Bishop Aringarosa
Jean Reno as Bezu Fache
Audrey Tautou as Sophie Neveu

Trivia:

"24" (2001) creator Joel Surnow thought that "The DaVinci Code" would provide a great storyline for the show's third season. Surnow asked his boss, producer Brian Grazer about acquiring the film rights to the book. Author Dan Brown had no intention of his book being adapted for a TV show, and rejected their bid. Months later, Sony Pictures paid $6 million for the book and hired Grazer as producer.

France's Culture Ministry has granted permission for the film crew to film inside the Louvre.

'Russell Crowe' was considered for the role of Robert Langdon. Julie Delpy and Kate Beckinsale were two of the original people thought of for the role of Sophie. Sophie Marceau, Audrey Tautou, Virginie Ledoyen, Judith Godrèche, and Linda Hardy were considered for the role Sophie Neveu. Against the odds, Audrey Tautou was offered the part.

Opens May 19, 2006 all across the United States.

View the teaser here.

WHERE CAN WE BUY CLASSIC FILIPINO FILMS?

2005-08-28T20:00:00.000-07:00

Sister Stella L. (Mike de Leon, 1984)

THE GEISHA COMETH

2005-08-28T19:56:00.000-07:00

After 8 years of waiting, it finally cometh! Watch the trailer here (Quicktime).

EIGA SAI 2005 OPENS

2005-08-22T00:01:00.000-07:00

The annual Philippine-Japan Friendship Festival, commonly known by the generic name EIGA SAI, opens on August 31 in its usual home, the Shangri-la Plaza. The horror-thriller genre which Japan is famous for will once again grace Philippine silver screens. KAIRO (2001), "a startingly supernatural film", will open the festival.

Please visit the JF's website here for the screening schedules.

I JUST SAW

2005-08-20T23:38:00.000-07:00

THX 1138 (c. 1971) is set in the 25th century. The title character is only one of thousands of nameless, faceless workers in the huge underground colony. He works a shift in a robot factory and then goes home to his roommate, LUH 3417, to take the government-controlled sedatives and watch midlessly violent hologram programs. LUH, however, has somehow seen through the clean, peaceful exterior, and knows what their society really is. She switches THX's usual sedatives for stimulants, and they begin to fall in love and engage in illegal sexual activity.

Meanwhile, SEN 5241 has a plan of his own to switch the computed roommate matching system so that he ends up roommate to THX and LUH is conveniently cast aside. Tampering with the computer system is as illegal as having sex, and all three are eventually turned in and found guilty for their crimes. THX is taked to a seemingly endless white holding place and conditioned by the very law-enforcement robots he had helped to build.

Eventually, he meets up with SEN and several other outcasts who constantly plot getting out, but are too frightened to actually try anything. THX and SEN are fed up with this and head for escape on their own. On the way, they meet up with a "hologram", one of the black actors who served on the holographic television. He helps them to escape, and they realize that the exit was never far away and that it was only their own fear keeping them in the holding area. As they escape, SEN is frightened by the prospet of living away from the controlled environment and rushes back, choosing safety and predictability over freedom. THX and the hologram push on toward the outside. They steal two abandoned cars and race for the exit, pursued by the robots the whole time. The hologram's car crashes, leaving THX alone.

What follows is a desperate chase with a uniquely modern ending. To find out what happened to THX and LUH and how it all ends up, you'll have to see the movie. I'm not in the habit of giving away endings!

TRIVIA

1.) THX 1138 was based on a student film Lucas made while attending USC.
The original title was Electronic Labyrinth: THX 1138 4EB
2.) The stars of the film were Robert Duvall as THX 1138, Donald Pleasence as SEN 5241, and Maggie McOmie as LUH 3417
3.) THX 1138 was not only ahead of its time in sound effects, but also in the themes which it portrayes, such as the loss of individuals for the good of the group, the self-corruption of the human spirit, racism in science fiction, and yes, even channel-surfing
4.) The film was produced by American Zoetrope Studios, then co-owned by Lucas and Francis Ford Coppola
5.) The extras used in the film came from a drug rehabilitation center called Delancey Street Foundation. The only way to enter Delancey Street was to have your head shaved. (Thanks to donasso@pacbell.net)
6.) When George Lucas lived in the San Francisco Bay area, where the tunnel scenes in THX were filmed, one of his phone numbers was 849-1138, or as a mnemonic, THX-1138. (Thanks to nbeckett@gte.net)

Check out the site here.

ACTIVIDADES CULTURALES EN INSTITUTO CERVANTES

2005-08-18T12:35:00.000-07:00

Dream of Light (Quince Tree of the Sun)
From Victor Erice, director of SPIRIT OF THE BEEHIVE, comes an intensely detailed study of a painter in the midsts of an artistic creation as contemporary Spanish artist Antonio Lopez Garcia creates a still life of a quince tree while the sun filters through the leaves. Winner of the 1992 Cannes Film Festival International Critics Prize and the Grand Prize of the Jury Fipresci Award.

27/08/2005 17:00 h en la Salon de Actos (5/F)

Instituto Cervantes (Manila)
2515 Leon Guinto cor. Estrada Sts.
Malate Metro Manila

Forthcoming Events
20/08/2005. "Dalí"
27/08/2005. "Dream of Light"
03/09/2005. "Roma"
10/09/2005. "Son of the Bride"
15/09/2005. "Extranjeras"
17/09/2005. "The Motorcycle Diaries"
27/09/2005. "150 Years of Photography in Spain"
28/09/2005. "Take my eyes"
28/09/2005. "Lost Embrance"
28/09/2005. "Soldiers of Salamina"
28/09/2005. "Astronautas"
28/09/2005. "All About My Mother"
28/09/2005. "Ferpect Crime"
28/09/2005. "The Weakness of the Bolshevik"
28/09/2005. "Los lunes al sol"
28/09/2005. "The Game of the Truth"
28/09/2005. "November"
28/09/2005. "Torremolinos 73"
28/09/2005. "Héctor"
28/09/2005. "The Animated Forest"
28/09/2005. "Subterra"
28/09/2005. "Mar adentro. Sea Inside"
28/09/2005. "Thesis"
28/09/2005. "Open Your Eyes"
28/09/2005. "Lucky Star"
28/09/2005. "The 4th Floor"
29/09/2005. "Pellet"
29/09/2005. "Running Out of Time"

THE 7TH CINEMANILA INTERNATIONAL FILM FESTIVAL

2005-08-17T22:42:00.000-07:00

UPDATE: RESET TO OCTOBER (FIRST WEEK)!!!
Greenbelt Cinemas, Ayala Center
City of Makati, The Philippines

The 2005 Cinemanila International Film Festival has opened its website. Visit it here.

'MASAHISTA' WINS IN LOCARNO

2005-08-16T11:59:00.000-07:00

The film 2005 MASAHISTA (The Masseur) won the Golden Leopard Award in the 54th Locarno International Film Festival in Locarno, Switzerland. 'Masahista' shared the honor in the video division with Canadian Denis Côtés 'Le Etats Nordiques'. In the film category, USA's Rodrigo Garcia brought home the top prize for "Nine Lives," topbilled by Oscar favorites Sissy Spacek, Holly Hunter and Glenn Close.

Coco Martin

The film starred the teenager Coco Martin in the lead role and was directed by Brilliante 'Dante' Mendoza. The film unfortunately was pulled out of the 3rd Manila Pink Film Festival lineup at the last minute for still unknown reasons.

Since 2002, the Locarno International Film Festival has been recognized by the world film producers’ association FIAPF as a “non-specialized competitive film festival”, alongside Cannes, Berlin and Venice. Visit the Festival's site here.

The 7,000-seater open-air theatre of Locarno

THE WAYWARD CLOUD (2005)

2005-08-10T10:48:00.000-07:00

Stupid me for not recognizing one gem of a film when I see one. I already saw this on the rack two weeks ago and read about it a week after. This is the 2005 Berlin Film Festival's recipient of the Alfred Bauer Prize (goes to a film which succeeds in "taking the art of film in a new direction”) by Chinese director Tsai Ming Liang.

I should have bought it na sana but I hesitated. Short of admitting that I am a pervert (hardly!), this wasn't the cover used on the copy I saw. If anyone sees it again, please let me know.

Review (FIPRESCI, the international federation of film critics)
The Wayward Cloud
Histoire d'Eau
By Andrei Plakhov

Tsai Ming-liang has already made several masterpieces about the decline of human communication, family, male-female and love relations in urban society. The Wayward Cloud is so far the most radical film of the Taiwanese director, a real piece of Chinese extremism. This is an incredible love story which develops in the background of a severe global water shortage. The replacement of water is now watermelon juice; watermelon then replaces a vagina in the first sexual scene, and later on helps to imitate pregnancy and birth, so it becomes the symbolic substitute for the most basic human functions.

Characters in the film are the same as in Tsai's What time is it there? A young woman, Shiang-Chyi, returns to Taipei from Paris with the same suitcase which will never be opened. She soon meets Hsiao-Kang but discovers that he is no longer a watch salesman but an actor in porn films. Nothing is the same in the city: TV is teaching various water-saving methods, and Shiang-Chyi is mostly preoccupied with stealing water from public toilets, filling countless numbers of plastic bottles and saving this treasure in the refrigerator.

There are the usual leitmotivs of Tsai's world: for instance claustrophobia and running water. Everything including the production of porn videos happens in the same building, and in spite of the water crisis, it is drifting along the screen on the naked bodies of actors. At the same time this film has new elements — humor and a reflection of pornography as a real obsession of modern culture. The last sex scene involves a dead woman's body and culminates with oral ejaculation through the bars of a window. It looks like a travesty of classical gay porn imagery — in spite of the fact that the action happens not in a prison but near a poster advertising China Airlines.

Cinephilia is another subject of Tsai Ming-liang. In this case, the obvious pornographic, voyeuristic nature of cinema.

And last but not least: The Wayward Cloud is a musical which in its ironic way recalls Les Parapluies de Cherbourg and offers a few unforgettable song-and-dance sequences — one of them happens in a toilet with Lee Kang-Sheng wearing a penis head. The favorite protagonist of Tsai fulfils the New Wave concept of the François-Truffaut-Jean-Pierre-Léaud series following all the stages of male development, both physical and psychological. This is the most unexpected and impossible screen love story ever made.

Andrei Plakhov
© FIPRESCI 2005

NEXT ON MY LIST

2005-08-10T10:43:00.000-07:00

Visit the film's website here.

I JUST SAW

2005-08-10T10:35:00.000-07:00

The Bridge of San Luis Rey (2004 version)

The original 1944 film featuring the actres Lynn Bari

EL MAQUINISTA (2004)

2005-08-09T03:15:00.000-07:00

By Dylan Yap Gozum for Yehey! Entertainment

It is with a sense of foreboding that I went to see ‘The Machinist’. Already, the sight of a horribly emaciated Christian Bale had me wondering – what kind of story would convince a healthy 180-pounder actor to actually lose 63 lb. in order to play this role?

Trevor Reznik (C. Bale) is ‘The Machinist’, a lathe operator in a machine shop. At first glance, it becomes pretty obvious that Trevor is one, very sick man or at the very least, somebody who needs sleep badly. Trevor’s life is pretty much a routine: He goes to work, hangs out at the airport café to have pie and coffee until 1:30 AM, goes home and reads Dostoevsky’s The Idiot. Occasionally, he would solicit the services of a prostitute named Stevie (Jennifer Jason Leigh). Trevor’s attempt at sleep is always disturbed by many things. In fact, he hasn’t slept for a year! It is apparent that what Trevor has is no ordinary insomnia. He is paranoia and fear personified. His Post-It memos to himself, constant use of Scorch Bleach to wash his hands (to absolve guilt?) and the presence of perpetual storm clouds in the sky (impending disaster?) are signs of unsettling and intense elements in this 102-minute psycho-thriller.

And indeed, the plot thickens as the film lurches forward. Several things make for engaging scenes: a hangman game on a Post-It on the fridge door is slowly becoming complete and Trevor doesn’t know who is doing it. A bulky, bald man named Ivan (John Sharian) appears from nowhere and distracts Trevor to commit a major accident in the workplace. Trevor follows this man, in which he discovers more of himself at every point. It can get very confusing as snippets of memory falls through and then it becomes clear: Trevor is running away from his past – and a crime he committed – and it’s all come back to haunt him.

Directed by Brad Anderson and written by Scott Kosar, whose screenplays include ‘Amityville Horror’ and ‘The Texas Chainsaw Massacre’, ‘The Machinist’ is a work that puts together elements from those of acclaimed writers and directors of the horror-thriller genre. One is immediately reminded of ‘Memento’ (2000), among other examples of famous psycho-thrillers.

Christian Bale’s ‘American Psycho’ (2000) would be the closest thing the actor ever did to portray roles like this (come to think of it, his persona – mysterious and brooding - was the same when he played Bruce Wayne in ‘Batman Begins’!).

Was this film worth it for the audience and Bale? Come ci, come ca. Not bad, could be better. Because although Bale is such a good actor (he may be the film’s only redeeming value), the plot wasn’t convincing enough. A psychological angle to a story is always engaging to a point but too many elements introduced makes it difficult for the audience to make out what’s happening on-screen. Despite its Oprah moments, the film doesn’t build enough emotional stacks to make us feel for Trevor. He’s as bewildered as all of us. At any rate, watch this film for the edge-of-the-seat experience.

In the ending, Trevor’s admission of his crime did put an end to his miserable existence. I am suddenly reminded by poet and author Maya Angelou’s line, “History with all its unending pain cannot be unlived, but faced with courage need not be lived again.” Indeed, Trevor Reznik has finally solved his own life’s mysteries. Sleep has never been this well deserved.

Comments welcome at dylangozum@yahoo.com

MGA PUSANG GALA: A REVIEW

2005-08-08T09:38:00.000-07:00

By Dylan Yap Gozum for Yehey! Entertainment

Philippine Premiere; June 3, 2005

Gateway Mall Cineplex, Araneta Center Cubao

With characteristic flamboyance and fiery speeches enough to rouse the cynic, the 3rd Manila International Pink Film and Video Festival opened in its new home in the Gateway Mall’s awesome Cineplex. But what is a film festival without its opening salvo?

For the first time, the annual festival opened with a homegrown work, ‘Mga Pusang Gala’ (2005), the post-production of which was rushed to make it to this gala night after it failed to make it to the closing of the 15th International Women’s Film Festival. The choice of this film also puts appropriate focus on the collective effort of Indie-film producers to inject life into what is supposedly a dying film industry. It is based on the Palanca Award-winning script ‘Libog at Kabilugan ng Buwan’ by Jun Lana, who also wrote the screenplay adaptation with Rody Vera of the Philippine Educational Theatre Association (PETA).

The UP Film Institute’s website describes it as a story which “depicts alternative lifestyles among contemporary Filipinos. It is the story of Marta, a single woman, and Boyet, a pocketbook novelist: two friends who parallel each other’s lives as they wait for their true love and salvation. Their lives are punctuated by their waiting for the men who they think will fulfill their hopes and dreams. It is a story of intense passion, longing, friendship and about learning to love oneself.”

‘Mga Pusang Gala’ remains to be a celebration of two lives (despite their constant feeding on each other’s miseries) and of those who surround them; truly, a testament to their triumphs, falls and their veritable what-ifs. What makes this film a delight to watch is its total lack of pretense, and the fact that no judgment is passed on the lives that Boyet (Ricky Davao) and Marta (Irma Adlawan-Marasigan) have chosen to lead. It is an honest-to-goodness pure storytelling, capturing the sensibility, distinct style and culture that only Filipinos are somehow capable of doing on film.

Fresh from his rather ho-hum role in ‘Bikini Open’ (2005), Ricky Davao, another quintessential actor who is way up there in the firmament of great Filipino performers, has proven once more his versatility on screen. Irma Adlawan (‘Tuhog’, 2001; ‘Jose Rizal’, 1998; ‘Naglalayag’, 2004) brings to the screen the talent that has been honed by being a member (director and actress) of the Tanghalang Pilipino, the Cultural Center of the Philippines’ (CCP) resident theatre group. Never over the top, she effectively delivers her lines with deadpan sarcasm and wonderful wit, making her an instant hit among the audience.

Even gay subculture mannerisms, like the subtle rubbing of arms in the jeepney to show the secret agreement entered into by two consenting men, are depicted with such realism inciting the largely-male audience to giggle – a sure sign of familiarity. There is a palpable connection between the audience and the film, all the more reason for the pink community to embrace Director Ellen Ongkeko-Marfil – originally feared by the film’s producers to lack the ‘gay touch’ – as one of its own.

Her seminal work will shame any director churning out ‘mockumentaries’, or whatever trash it is directors call their films these days. ‘Mga Pusang Gala’ is a film of searing passion and exceptional performance; a true beauty to watch. I declare, without fear or bias, that this film will count among the best films ever produced this year. The potential of the digital medium, although still limited by the need to use 10,000 lumen-projectors in theatres to fully appreciate their rich details, is boundless and bodes well for the future of the once-robust Filipino film industry.

The audience may find it difficult, however, to figure out what is real and what is imagined. Director Ellen has made use of visuals to show what the characters have in mind. Some reviewers feel this filming style may hinder its appreciation by the general public but despite the surreal twist in the ending, the work remains interesting, unpredictable and plausible. Perhaps that little tickle on the audience’s imagination may be a nice break from the long periods of drama and hysterics.

In all its aspects, this film is almost never stereotypical. The never-ending quest for true love (“Did you love me, or did you just make love to me?”), lifetime commitment and true happiness – universal themes that have been tackled many times in this age of no-expectation relationships – are given a chance to be viewed in a new light in a setting that transcends sexual orientation; truly, a love that is genderless!

The camerawork borders on revolutionary (was that a Lino Brocka method I saw – the use of a mirror to reflect a scene?) and the appropriate original musical score is applied when the scene requires it. Everyone – from the lead actors down to the production staff – deserve commendations of the highest order for a work that is surprisingly devoid of corny-ness and theatricality that has characterized Filipino films for so long. Thank heavens for the rare gift of brilliant writers and sensitive directors just when the industry – and the nation – needs them.

Everyone is invited to partake of a work that is a rousing tribute to the pink effort, which in itself is trying to assert its place in society. This visual feast is to last way up to the end of June in Gateway, will eventually move to the UP Film Institute. Do visit the main site at the Pink Film Festival for the programming and schedule.

Visit the film's website here.

NEW DVD TITLES IN MY LIBRARY

2005-08-04T03:12:00.000-07:00

COMING SOON

2005-07-29T03:41:00.000-07:00

Coming soon to shock you off your seats! Rejected by Cannes! (Okay, this is being sensational).

Directed by Ang Lee. Writing credits (WGA) by E. Annie Proulx (short story) and Larry McMurtry (screenplay).

IMDB Data here.

I JUST SAW

2005-07-29T03:21:00.000-07:00

POSSIBLE CHANGES (www.possiblechanges.com)
Country: Korea
Over view: Jung Chan (Road Movie) and Kim Yu-seok (The Isle) in a story about several related people who have all reached a dead end in their lives.
Director: Min Byung Guk
Awards: The opening film of the 2004 Jeonju International Film Festival. The film was also named winner of the sidebar Winds Of Asia section at the 2004 Tokyo International Film Festival.

Rather slow-paced and a bit dragging at the beginning. 30 minutes into the film, many stories have already been introduced, some from a rather difficult angle making one wonder how the Director plans to resolve this confusing story.

It's about many people alright but who are, one way or another, related to each other either by marriage, a former love, somebody one met through the internet, etc. I must admit there are just too many sex scenes which were rather graphic but I suppose this is the trend in Korean films now (which makes them decades behind the Philippines in this regard!). The focus, however, is on two men: A novelist and an office worker, both friends and philandering husbands.

I wish to believe this film isn't actually reflective of current Korean society or else, it wouldn't really make them any different from Japan.

There is so much to wish for from this film like in most Korean films, save for a handful. Storytelling is one aspect they should focus on. Most Chinese films have, thankfully, graduated from this major flaw and Korea, whose films are becoming more known to the world, should rethink their scripts.

The ending is another thing altogether. It provides the audience two alternate endings: One, the novelist pushes the office worker off the cliff. Second, the office worker actually jumps off the cliff and onto the sea below.

Any which way, boy, was I glad this was over. Next film, please!!!

THE JOY OF SHORTS

2005-07-23T02:50:00.000-07:00

by Dylan Yap Gozum for Yehey! Entertainment

We embarked on a close-to-8-hours marathon of 6 films on the third day of the 2005 Cinemalaya Independent Film Festival at the CCP’s Tanghalang Aurelio Tolentino. Despite the queues, very short break intervals and several technical glitches, here are the best finds:

BABAE by Singrid Andrea Bernardo

‘Babae’ is a bold take on a much-misunderstood reality in Philippine society: relationships between females. This is a story of two women who grew up together in a slum community beside the railroad tracks. They developed feelings for each other and eventually started a family – a topic so taboo it may have earned the ire of prudes during its initial screening. Awkward at first because of the theatricality of greenhorn child actors, it groaned and lurched towards a fun but equally moving finish regardless of a few ‘lapses in judgment’ along the way.

A review of the English subtitles, however, is in order. Literal translation of Tagalog words does not capture the wit or the humor of the original terms used and can be quite distracting. Somehow, ‘Bongga ka, ‘day! Bongga!” as “You are fabulous, dear! Fabulous!” didn’t sit well with the audience but it really is a conundrum for the translator, I admit.

This whimsical short, essayed by actresses Gadge Gunn and Raye Baqurin, is a heady mixture of drama, comedy and the occasional interview à la documentary (irresistible but unnecessary). It was part of the ‘Lesbianarama’ segment in the 3rd Pink Film Festival last February.

BLOOD BANK by Pam Miras

(Photo by Paolo Manalo)

This is a film with a good story but suffered from faulty storytelling. With the black and white medium used to a maximal effect, it pretty well suited the setting: Present-day Manila. In the center of a swirling and difficult city life is Des (Rose de Leon) who has aplastic anemia. She goes to a blood bank for regular transfusion, done by a chatty technician named Emma (Ian Victor). One night, Des gets mugged by Cleto (Marvel Julian). Going through her things, Cleto found a diary and learned about Des’ condition. He followed Des to the blood bank and after confirming with Emma, he decided to donate his blood every week to “atone for his sin.”

Emma has dreams of becoming a caregiver. Somehow, she got hold of a NAKTF poster where Cleto is wanted for robbery. A robbery case on a NAKTF poster must be an oversight, but I digress. Needless to say, Emma informs the police (she gets a reward for doing so) and Cleto is arrested. Emma is later seen packing her bags and quits from the blood bank, which the owners decided to sell later. Des loses both her donor-erstwhile mugger and the secret comfort of the blood bank. Supported by a cast of very credible actors, this work suffers from inconsequential storytelling. Perhaps events in short films (20 minutes or thereabouts) should be told as they happen to avoid confusing the audience.

This is Director Pam Miras’ 3rd film following her ‘Bongga: Best in Wedding Gown’ (2000) produced by the French Embassy, and the award-winning ‘Reyna ng Kadiliman’ (1999). Excellent cinematography by Ogi Sugatan.

KULTADO by Lawrence Fajardo

Among the three, ‘Kultado’ has the most “pulido” look. The cinematography is crisp, the editing smooth. This afforded viewers the chance to see the ongoing sordid affair – how vendors in a public market in Bacolod suffered under loan sharks, and how they got back at them – without the convenience of special effects to mask the jarring confluence of injustice, blood, vomit, profanity and human body parts – a true shocker. Non-Ilonggo speakers will have to read the English subtitles, which by the way need a second-pass spell check.

Cutting-edge and unconventional, ‘Kultado’ showed courage in exposing a specific type of injustice in the provinces and the protracted way certain sectors think of their role in its propagation. If this is what Visayan directors are capable of, it definitely bodes well not just for the local but for Philippine cinema as well. ‘Kultado’ proves that all it takes is a damn good story and an excellent script to surpass the no-brainers major film companies produce these days.

Jobin Ballesteros’ musical score follows a playful tempo using articles related to the setting: knives, hacking implements etc. reminiscent of that same technique employed in Takeshi Kitano’s ‘Zatoichi’ (2003) in which farming implements were used to create portions of the score. Very brilliant.

On hindsight, although some of the works are at times contrived but redeemingly moving, perhaps budding directors should learn more from the masters and veer from enforcing too much of their own styles, which at times come at the expense of clearer and effective storytelling. Since technology is very much at their disposal, I suppose there’s no excuse why they can’t focus on their scripts. Overall, it was a pleasurable experience to witness Philippine cinema’s newest gems.

Meryl Soriano (Best Actress for Room Boy), Sigrid Andrea Bernardo (Best Director for Babae) and Pam Miras (Best Screenplay for Blood Bank, July 17, 2005 (Photo by Paolo Manalo, www.flickr.com)

Comments welcome at dylangozum@yahoo.com

ANG PAGDADALAGA NI MAXIMO OLIVEROS

2005-07-23T02:31:00.000-07:00

by Dylan Yap Gozum for Yehey! Entertainment

Maximo Oliveros (Nathan Lopez) or Maxi for short is a pre-teen gay who’s just discovering life and the true love. Growing up in a near-slum community somewhere in Manila, he already is on his way to living a cliché life: back-breaking work in service of his family. His father is engaged in a snatched-cellphone business and his two elder brothers, one a bum and the other a jueteng bet lister, always find themselves in trouble. Maxi’s world is colorful and fun – it’s a 24-hour panorama of brightly-colored fabrics, cute hairdo accessories, make pretend Miss Universe pageants and pirated DVD movies. With a family that loves him to death (quite literally as we discovered), what more can one ask for?

When an impossibly-handsome police officer, Victor (JR Valentin), saved him from a near-rape experience in a dark alley, love was born in Maxi’s innocent heart. Determined to serve both Kuya Victor and his own family, Maxi finds himself running the show in two kitchens – bringing food to Victor in the police station and running back home before dusk to cook food for his family. All this ended the day Maxi discovered that his eldest brother (Neil Ryan Sese) was guilty of killing a young boy, apparently in a hold-up scenario. The thing is, Victor caught Maxi burning his brother’s shirt one night and this prodded him to investigate further, which led to his being mauled by Maxi’s father and other brother (Ping Medina) for “interference” in their affairs.

With keen sensitivity in observing culture, writer Michiko Sy Yamamoto and Director Aureaus Solito portrayed the politics and survival tactics that permeate the life of the everyday Filipino with raw honesty. UP Professor Alex Magno, who recently wrote an essay in Time Magazine (July 2005) would be delighted to find visual proof of his arguments in this film. Performances by Indie veterans Soliman Cruz, Ping Medina and the immortal Bodgie Pascua form the core of this extremely-moving film, but the 13-year-old Nathan Lopez is the one who brings absolute delight to the entire work.

Director Aureaus Solito at the Yamagata Documentary Festival

The harsh city life is evident in every frame; the tension, anger and the sadness are palpable in its every twist and turn. In the end, after a series of events that awakened Maxi to the realities he has to face, he gave up his love for Victor and pursued his studies to avoid the life his family has lived all this time. Indeed, when you’re down, there’s nowhere else to go but up. As 19th century novelist and social commentator Charles Dickens wrote in ‘A Tale of Two Cities’, “It’s the best of times. It’s the worst of times.” But to a larger degree, it’s what we make it to be.

The 2005 Cinemalaya Independent Film Festival moves from the CCP to the UP Film Institute’s Cine Adarna starting July 18.

Comments welcome at dylangozum@yahoo.com

I have reason to believe this may be 'Ang Pagdadalaga...'s" very first review. I hope Yehey! publishes this soon before other reviews come out.

DVD DREAMS

2005-07-23T02:16:00.000-07:00

A year ago, i was "inspired" by this article on the Inquirer where they featured a video collecter showing off his 1,500-title film library. Doing the math, that would roughly translate to buying 4 titles a day for 365 days!

A year after, here it is - a 700-title film 'wall' beside my bed on the 3rd floor of our house. One can say I am so much poorer because of that "insipiration". No regrets. By the way, some of these were gifts from friends, mostly from JGC who sometimes would bring me one or two titles from HMV in HK or Bangkok.

I got the two posters during the world premiere of the 5-hour film by Lav Diaz, BATANG WESTSIDE, during the 2002 Cinemanila Film Festival. It won as Best Film in Singapore the next year. The orange poster from the Spanish Film Festival (Fiesta! 2004) was a birthday gift from last year.

So there. So many films, so little time to watch.

CINEMALAYA INDEPENDENT FILM FESTIVAL

2005-07-12T18:59:00.000-07:00

New and cutting edge works in digital format by the country’s most exciting filmmakers will be the focus of the forthcoming Cinemalaya Independent Film Festival and Competition on July 12-17, 2005 at the Cultural Center of the Philippines (CCP).

Presented by the CCP, the Film Development Council of the Philippines and the UP Film Institute, Cinemalaya will unveil to the public the 6 winners of the short film category and the 9 finalists competing for the plum in the full-length feature category.

For details on screening schedules, film list and abstracts, please visit the Cinemalaya page of the Cultural Center of the Philippines website.

WAR OF THE WORLDS (2005)

2005-07-07T05:44:00.000-07:00

I don't know. I have no way of getting hold of H. G. Wells' book WAR OF THE WORLDS to make a comparative study of Spielberg's 2005 version. Although I have been lucky to have obtained a copy and seen the Titanic of 1943, I haven't been as lucky with the 1953 original of The War of the Worlds.

A still from the 1953 Oscar-winning film by Byron Haskin

It was fun while it lasted but the anti-climactic ending definitely doused the excitement that was built up earlier by the spectacular effects. Dousing the effect was also provided by the incessant screaming of Dakota Fanning (she should give her "intellectual" image a rest or she'll never grow up) and a son with messianic complex, who I'd rather see dead by the way.

STOP IT, STOP IT, STOOOOP IT!!!

At any rate, everything was okay. Just don't raise your expectations too much. After Spielberg's stupid ending in Artificial Intelligence (2001), I've stopped expecting anything from Spielberg.

Just in case you didn't listen carefully to the opening and closing narrations (they used the original recording by Orson Welles, by the way), here they are:

[first lines]
Commentary: In the first world war and for the first time in the history of man, nations combined to fight against nations using the crude weapons of those days. The second world war involved every continent on the globe, and men turned to science for new devices of warfare which reached an unparalleled peak in their capacity for destruction. And now, fought with the terrible weapons of super-science, menacing all mankind and every creature on the Earth comes the War of the Worlds.
--------------------------------------------------------------------------------
[last lines]
Narrator: The Martians had no resistance to the bacteria in our atmosphere to which we have long since become immune. Once they had breathed our air, germs, which no longer affect us, began to kill them. The end came swiftly. All over the world, their machines began to stop and fall. After all that men could do had failed, the Martians were destroyed and humanity was saved by the littlest things which God and His wisdom had put upon this Earth.

It all boiled down to these: death by Paramecia, Rotifers and Stentors. Duh.

BROCKA ON BROCKA

2005-07-07T05:31:00.000-07:00

Allan Brocka (seated) with the cast of EATING OUT, shown in Manila during 2004's Pink Film Festival

Q. Allan Brocka is directing a documentary on his uncle, the venerated Lino Brocka, entitled "My Uncle Lino". His plan is to interview Lino Brocka's friends and colleagues and get to find out more about the Brocka side of the family.

Asked how it feels to be referred to as Lino Brocka's nephew, Q. Allan says it's both inspiring and intimidating. "He (accomplished) so much and affected so many lives in so many ways. It's amazing that there's someone like this in my family that I really don't know much about."

The great Lino Brocka

Do visit Allan Brocka's site here.

FLASHBACK

2005-06-29T04:12:00.000-07:00

CINEMANILA FAVORITE OF 2004

U.P. VISIT

2005-06-29T02:32:00.000-07:00

Visited UP Diliman lately (see related blog in EAT AND RUN!!!)

At the UP Film Institute (Oo na, mataba na kung mataba! Kaya nga nilayuan ang pagkuha 'di ba?)

Feeling nasa abroad! I didn't know the theatre is called Cine Adarna, probably after the mythical bird of 'Florante and Laura'. Cute.

THE RETURN OF THE JUDAY

2005-06-17T05:55:00.000-07:00

At last. Despite having been charged with tax evasion by the Rentas Internas, Judy Ann Santos, former child and now drama actress, gets a breather by finally getting a nod - her first acting award ever - from no less than the more prestigious Manunuri ng Pelikulang Pilino, otherwise known as the Gawad Urian, the society of Filipino film critics (c. 1976).

With Rio Locsin in 'Sabel'

I have yet to see this film. Ms Santos joins several exceptional actresses, Ms Nora Aunor, Jacklyn Jose, Charito Solis and Vilma Santos (See List of Gawad Urian Best Actresses here)

The 2005 Gawad Urian results are:

pinakamahusay na pelikula:
Ebolusyong ng Isang Pamilyang Pilipino (Paul Tanedo, producer)
Panaghoy sa Suba (CM Films, Inc.)

pinakamahusay na direksyon
Cesar Montano (Panaghoy)

pinakamahusay na dulang pampelikula
Lav Diaz (Ebolusyon)

Pinakamahusay na Pagganap (Acting)

pangunahing aktor
Cesar Montano (Panaghoy)

pangunahing aktres
Judy Ann Santos (Sabel)

pangalawang aktor
Wendell Ramos (Sabel)

pangalawang aktres
Iza Calzado (Sigaw)

pinakamahusay na disenyong pamproduksyon
Patty Eustaquio, Rishab at Jun Sabayton (Ebolusyon)

pinakamahusay na senimatograpiya
Ely Cruz (Panaghoy)

pinakamahusay na editing
Marya Ignacio (Milan)

pinakamahusay na musika
Nonong Buencamino (Panaghoy)

pinakamahusay na tunog
Angie Reyes and Nestor Mutia (Panaghoy)

pinakamahusay na maikling pelikula
Bunso (Ditsy Carolina, Consuelo Foundation)

natatanging gawad urian
Jess Navarro

WHAT HAPPENED?

2005-06-17T05:42:00.000-07:00

Ms Aunor and Yul Servo accepting their trophies

A year after it won Best Film at the 2004 Manila Film Festival, I still can't find a DVD copy of this critically-acclaimed film, Naglalayag (Silent Passage).

Somehow, there seemed to have been a conspiracy among distributors to make it as scarce as possible, but why?

Awards for 'Naglalayag'

(Brussels International Film Festival)

Best Actress - Nora Aunor
Best Actor - Yul Servo

(2004 Manila Film Festival)

Best Picture
Best Director - Maryo J. delos Reyes
Best Actress - Nora Aunor
Best Actor - Yul Servo
Best Supporting Actress - Jaclyn Jose
Best Screenplay - Irma Dimaranan
Best Story - Irma Dimaranan
Best Musical Scoring -
Best Original Song
Best Float

Best Actress trophy for Nora Aunor in the 2004 Brussels International Film Festival

THE 3RD MANILA PINK FILM FESTIVAL

2005-06-04T23:26:00.000-07:00

The list of films to be featured in the upcoming 3rd Manila Pink Film Festival have been released.

Opening the festival is 'MGA PUSANG GALA' (Stray Cats), produced and directed by Ellen Ongkeko-Marfil for the 15th International Film Women's Festival.

Genre: Drama

Synopsis: For its premiere offering, ERASTO Productions,Inc. comes up with a cutting-edge film, 'Mga Pusang Gala' (Stray Cats). It is based on a Palanca-winning play, 'Libog at Kabilugan ng Buwan' (Libido On a Full Moon), written by Jun Lana who also wrote the screenplay adaptation together with another acclaimed playwright, Rody Vera, of the Philippine Educational Theater Association (PETA).

'Mga Pusang Gala' depicts alternative lifestyles among contemporary young Filipinos. It is the story of Marta, a single woman, and Boyet, an aging novelist; two friends who parallel each other’s lives as they wait for their true love and salvation. Their lives are punctuated by their waiting for the men who they think will fulfill their hopes and dreams. It is a story of intense passion, longing, friendship and about learning to love oneself.

'Mga Pusang Gala' is painfully delightful and will unnerve you and make you reflect about your own relationships. While intellectually stimulating, it is just as emotionally riveting and employs humor, parody and fantasy which would appeal to both conservative and modern audiences.

Visit: http://pinkfilmfest.cjb.net, UP Film Institute and Rainbow Project for more update on the Festival. Opens June 4, Gateway Mall, Araneta Center Cubao.

ITALIAN FILM FESTIVAL 2005

2005-06-03T22:15:00.000-07:00

In the most unusual manner never before done in local film festivals, the Italian Embassy in cooperation with the Philippine-Italian Association and the CCP, will feature ONE FILM PER MONTH ON DESIGNATED TUESDAYS until November this year.

How we will catch those screenings is beyond me since schedules have not been announced yet. I guess you may have to call the Embassy for that (PIA Secretariat 02.815.1310).

Here's a quick look at the films:

February: UN TE' CON MUSSOLINI (Tea with Mussolini, Franco Zeffirelli)
March: CATERINA VA IN CITTA (Caterina Goes to Town)
April: LA FINESTRA DI FRONTE (Facing the Window, Ferzan Ospetek)
May:IO NON HO PAURA (I Am Not Scared, Gabriele Salvatores)
June: PANE E TULIPANI (Bread and Tulips, Silvia Soldini)
July: I CENTO PASSI (A Hundred Steps)
August: RESPIRE (Breathe)
September:LE FATE IGNORANTI (The Ignorant Fairies, Ferzan Ozpetek)
October: BUONGIORNO NOTTE (Goodmorning, Night)
November: IL POSTINO (The Postman, Micheal Radford)
December: TO BE ANNOUNCED

Tickets are at first come-first served basis. Matinee at 4PM and evening show at 7PM. Perfect for impressing your date (just don't tell her the tickets are actually for free).

Ciao!

7TH FRENCH SPRING FESTIVAL IN MANILA

2005-06-03T03:54:00.000-07:00

The 7th French Spring in Manila opens this June 1 and will run till the 9th, 2005. As the usual practise, we will be in for a treat of quality French films during the 10th Anniversary of the French Film Festival.

This year's theme is UNITED IN DIVERSITY and encompasses all art forms; from music to film to the visual arts.

PROGRAM

And They Lived Happily Ever After byYvan Attal
5 X 2 by François Ozon
Le Boulet by Alain Berbérian & Frédéric Forestier
Pas Sur La Bouche by Alain Resnais
Garde à Vue by Claude Miller
Vivement Dimanche by François Truffaut
Inspecteur Lavardin by Claude Chabrol
L.627 by Bertrand Tavernier
Le Poulpe by Guillaume Nicloux
L'Affaire Marcorelle by Serge Le Péron
Les Marchands de Sable by Pierre Salvadori
Scènes de Crimes by Frédéric Schoendoerffer
Violence des Echanges en Milieu Tempéré by Jean-Marc Moutout
Mon Idôle by Guillaume Canet

Tribute to Philippine Cinema

Panaghoy sa Suba by Cesar Montano
Dekada 70 by Chito Rono
Bagong Buwan by Marilou Diaz-Abaya
Milan by Olivia Lamasan
Batang Trapo by Mes de Guzman
Liyab by Sockie Fernandez

Also included are a selection of short films from the Clermont-Ferrand Short Film Festival.

Visit the official site of the festival, Alliance Francaise or the Embassy's site.

Bagong Buwan

Batang Trapo

NEXT ON THE LIST TO WATCH

2005-06-01T22:24:00.000-07:00

Thanks JGC for the copy!

I JUST SAW

2005-06-01T22:14:00.000-07:00

Definitely one of the Wong Kar Wai's most beautiful films.

I JUST SAW

2005-06-01T22:06:00.000-07:00

I JUST SAW

2005-05-25T06:40:00.000-07:00

Very beautiful and powerful films. Was in tears way into the closing credits of DEER HUNTER. This is one of the perks of being sick. You can either catch up on your reading or watch the DVDs you've been wanting to see only you didn't have enough time.

Thanks to JGC for the gift of film!

THE DECAMERON: A FILM TO LOOK FORWARD TO

2005-05-22T22:36:00.000-07:00

Giovanni Boccaccio (June 16, 1313 - December 21, 1375) was a Florentine author and poet, the greatest of Petrarch's disciples, an important Renaissance humanist in his own right and author of a number of notable works including On Famous Women, the Decameron and his poems in the vernacular.
_________

Hayden Christensen Leads Decameron

Source: The Hollywood Reporter February 14, 2005

Hayden Christensen (Star Wars: Episode III Revenge of the Sith) will play the male lead in The Decameron, Dino De Laurentiis' upcoming adaptation of the 14th century Italian classic by Giovanni Boccaccio.

According to The Hollywood Reporter, Christensen will play the role of Lorenzo, starring opposite Mischa Barton (The O.C.), who in December signed on for the lead female role, Pampinea.

The project will start shooting in April in Rome and Tuscany. " Decameron" is being directed and adapted by Britain's David Leland, whose helming credits include Band of Brothers.

Boccaccio's "Il Decameron" (c.1351) is a series of one hundred stories written in the wake of the Black Death. The stories are told in a country villa outside the city of Florence by ten young noble men and women who are seeking to escape the ravages of the plague.

Pier Paolo Pasolini directed an Italian-language version of the film in 1971. The trade adds that this new version is being designed to appeal to a younger audience and will include popular music as well as costumes from the Italian fashion designer Roberto Cavalli.

YOU MAY HAVE NOT NOTICED...

2005-05-22T22:34:00.000-07:00

Mario Frangoulis and Lara Fabian sing "So In Love" in MGM's De-Lovely (2004)

MANDERLAY COMPLETED

2005-05-22T22:28:00.000-07:00

Bryce Dallas Howard recently appeared in Shyamalan's THE VILLAGE (2004), and will soon appear in Lars Von Trier's MANDERLAY (2005) and Jimmy McGovern's MARY QUEEN OF SCOTS (2006)

Bryce Dallas Howard, Isaach de Bankole, Willem Dafoe and Danny Glover lead the castThe second film in Lars von Trier's third trilogy series entitled "USA - Land of Opportunities". The two other parts are Dogville (2003) and Washington.

Nicole Kidman, who played Grace in Dogville (2003) was intended to star in Manderlay as well as a third trilogy installment, but pulled out of the project in July 2003 due to conflicting schedules.

John C. Reilly was originally signed to play Dr. Hector but was replaced by Slovenian actor Zeljko Ivanek during production. A donkey was put to death while filming, and it was reported in US magazine Entertainment Weekly that this was what prompted Reilly to walk off the set, though he has never commented publicly on the incident or his exact reasons for leaving the film.

The executive producer Peter Aalbæk Jensen told Swedish media that "people should not be upset - instead they should think about the situation of the Third World". Since the movie was filmed in Sweden, they followed Swedish law, which says that animals can be put to death in movie productions if a veterinarian is the one carrying out the killing.

Source: imdb

FANTASTIC FOUR

2005-05-22T22:21:00.000-07:00

Yet another comic book, THE FANTASTIC FOUR created in 1961 by Stan Lee and Jack Kirby for Marvel Comics, flies onto the silver screen this year. The Fantastic Four is directed by Tim Story (TAXI, 2004) and is currenlty under production.

Cover of the 1961 first issue of Fantastic Four

Genre: Action / Sci-Fi / Fantasy / Adventure (more)

Plot Outline: When an experimental space voyage goes awry, four people are changed by cosmic rays. Reed Richards, inventor and leader of the group gains the ability to stretch his body, and takes the name, Mr. Fantastic. His girlfriend, Sue Storm, gains the ability to turn invisible and create force fields, calling herself the Invisible Woman. Her younger brother Johnny Storm gains the ability to control fire, including covering his own body with flame, becoming the Human Torch. Pilot Ben Grimm is turned into a super-strong rock creature calling himself Thing. Together, they use their unique powers to explore the strange aspects of the world, and to foil the evil plans of Doctor Doom.

Credited cast:
Ioan Gruffudd .... Reed Richards/Mr. Fantastic
Michael Chiklis .... Ben Grimm/The Thing
Jessica Alba .... Susan Storm/The Invisible Woman
Chris Evans .... Johnny Storm/The Human Torch
Julian McMahon .... Victor Von Doom/Doctor Doom

Chris Evans, fresh from the film CELLULAR (2004), stars as The Human Torch

MONDAYS

2005-05-21T22:49:00.000-07:00

I'm just so happy to finally be back on my morning schedule at work. So nice to see sunlight again. I just love waking up to that smell of bacon (from my neighbor, not mine :-(), and finally coming downstairs to have muesli or cereals with grapes for breakfast. Sarap!

Anyways, i missed doing a blog last Friday because i wasn't exactly up to the task. I just hate what cream does to my lower alimentary system. I swear to God never to eat curried chicken because i really have no intentions of spending the entire day in the lavatory ever again. The best thing about it I guess was that I could catch up on my reading.

Re watching KEN PARK, I never really came about to seeing it because the DVD's not with me yet. As I said last time, i finally got to finish Code 46. Totally tragic ending. No sense of justice at all.

I also decided to brace myself for IRREVERSIBLE instead. I found an uncensored copy in Quiapo weeks ago and despite the heady mix of gloom and crazy photography, the story was just amazingly cutting edge. The attack, at least. Nothing new about rape, right? (Well, not when you see poor Monica Bellucci take it up her arse in an underpass in Paris). They described it as a "difficult rape scene". I can see why.

I totally lost my appetite that day, not out of pity for her (her acting was great), but because of the innate violence this movie shows.As if i haven't been used to gore enough to stand this one (blame it on my passion for Japanese films), it really isn't recommended for the (cliche, cliche!) faint of heart.

One of the scenes you may want to miss out on.

Up next: TOGETHER by Chen Kaige.

DANNY DECKCHAIR

2005-05-21T04:30:00.000-07:00

UP, UP and AWRY!

For www.yehey.com/entertainment/movies

Given the chance, what is the one thing that you would love to do? To what extent will you go in order to break free from your monotonous routine of day-to-day living? If you are unable to answer, then allow Danny Morgan to show you how.

Rhys Ifans is Danny Morgan, a laborer in Sydney who is disgruntled with his life and who perpetually daydreams of packing up his tent and bags one day and stuffing it all in an airplane. His girlfriend, Trudy Dunphy (Justine Clarke), who despises his lack of ambition in life, is meeting with a local television reporter Sandy Upman (Rhys Muldoon) on the sly. When Danny overhears what Trudy thinks of him during a telephone conversation, he decided that he has had enough and that a big break is just about what he needs. But this isn’t your regular trip, oh no.

Known for extreme stunts like the human slingshot he once made of himself, this time he tied dozens of helium-filled balloons to a deckchair and takes off from his backyard during a barbecue party with friends. Trudy, realizing what just happened, started to run after him and calling out his name; even following him on the car until he disappeared from her view. The novelty of the film, however, ends here. From this point forward, expect the time-tested plot of guy-takes-off-to-find-new-life-finds-new-girl-too to take over.

Danny’s flight eventually ends in the sleepy town of Clarence, where he unceremoniously lands in the garden of Glenda Lake (Miranda Otto). The townsfolk he encounters in Clarence prove to be a grand source of inspiration to him, and he proceeds to show them how to live life to the fullest, while slowly winning the once steel-hearted Glenda to his side. Now happy with his life in Clarence, Danny’s past is not about to go away and when it finally catches up to him, his blissful new existence comes under serious threat.

Rhys Ifans made a big impression on both critics and audiences worldwide with his performance as ‘Spike’, Hugh Grant’s untidy roommate in the smash hit romantic comedy “Notting Hill”, which also starred Julia Roberts. It is nice to finally see Rhys shed off that obnoxious character as ‘Sex God’ and move on to serious roles, and what a transformation indeed! He has played very nice and meaty roles in ‘Vanity Fair’ (2004) and ‘Enduring Love’ (2004) that surely will make him a superstar in his own right.

Says writer/director Jeff Balsmeyer of Rhys: “I couldn’t really picture anybody at all in the role until the happy day when Rhys was suggested. There’s no one on earth who could play the part better. Danny’s character needed a certain innocence, a kind of capacity for wonder, and Rhys has that in ways I’ve never seen before. But Rhys also has a wonderful comic edge; very smart and a little goofy. It all adds up to an extremely original sort of charm. He’s an actor of remarkable talent, and in ‘Danny Deckchair’ he transforms into a romantic leading man. “

Miranda Otto, who was featured in the last two installments of New Line's ‘Lord of the Rings’ trilogy as Eowyn, the strongest of Tolkien's female characters, has already worked with Rhys Ifans in ‘Human Nature’ (2001). In addition to ‘Lord of the Rings’, she was also seen in ‘What Lies Beneath’ with Michelle Pfeiffer. Miranda is also well known for a number of performances in Australian films, including the romantically naïve Dimity in Shirley Barrett's ‘Love Serenade’. She is due to appear next in ‘War of the Worlds’ (2005) opposite Tom Cruise.

In ‘Danny Deckchair’, Otto gives a predictable performance as the girl who unexpectedly found love literally falling from the heavens. Subdued through the years with family issues she alone knows about, she is slowly transformed by Danny’s presence into a woman who learns to love herself and enjoy the life around her, much to the delight of her neighbors.

Although very predictable, ‘Danny Deckchair’ is delightful because of the novel means Danny breaks out of his mundane existence; it does have its charms. Lushly lit – Balsmeyer calls it ‘pushed realism’ – the color adds to the atmosphere and lends itself to the romantic setting of the film, making it a perfect choice for dates and after-office relaxation.

On the hindsight, one is also pushed to think that, perhaps, it’s about time we all do something we really have been wanting to do for the longest time. This may be our chance. We wouldn’t want to regret not having done it now, would we?

Comments welcome at dylangozum@yahoo.com

HOTEL RWANDA

2005-05-21T04:26:00.000-07:00

The Art of Saving Lives

Was published in www.yehey.com/entertainment/movies

“I keep my ideals because in spite of everything, I still believe that people are really good at heart.” - Anne Frank

“No more war! War no more! If you wish to be brothers, drop your weapons!” – Paul VI, in his address to the United Nations General Assembly after WWII

Rwanda. 1994. The conflict between the Hutus and the Tutsis, comprising 80% and 15% of the population respectively, has been going on for decades, more so after the Belgian colonization. These conflicts saw the displacement of Tutsis to neighboring countries. With the continuous conflict and the Rwandan government’s refusal to readmit Tutsi exiles, dubbed the “Jews of Africa”, this culminated in a large-scale invasion of Rwanda by the Rwandan Patriotic Force composed mostly of Tutsi exiles. Urging the Hutu-dominated government into effecting reforms, a peace accord was finally signed in 1993 providing for the formation of a unified national leadership but this was vehemently opposed by Hutu extremists.

As if on cue, the plane carrying Presidents Juvenal Habyarimana of Rwanda and Cyren Ntaryamira of Burundi was shot down near Kigali, the Rwandan capital, thus sparking the now-infamous and well-organized uprising by Hutu extremists which resulted in the death of over 80,000 Tutsis and moderate Hutus in the span of only 100 days.

The Hotel des Mille Collines today

This was the setting of the incredibly moving film ‘Hotel Rwanda’, directed by Terry George and co-written with Keir Pearson. It is centered on the Hotel des Mille Collines, an ‘oasis in the desert’, and known for its exceptional service as a four-star hotel in Kigali. This same hotel is likewise the setting of a book on the same subject by Gil Courtemanche, ‘A Sunday at the Pool in Kigali’. Early in the film, as the mindless massacres are just beginning, Paul Rusesabagina (Don Cheadle), as the de Mille Collines’ Manager, meets a visiting group of Western journalists. One of them, Jack (Joaquin Phoenix), the cameraman, was able to capture a video footage showing the rampant savagery taking place across the country. Rusesabagina is shocked – and elated – because this footage will definitely bring help and intervention from around the world.

But Jack is more realistic. "If people see this footage,” he says, “they'll say, 'Oh my God, that's terrible,' and they'll go on eating their dinners." As the vicious violence accelerates and Europeans flee the country, Rusesabagina, who is a Hutu, takes his Tutsi wife Tatiana (the beautiful Sophie Okonedo) and their children to the relative safety of the hotel. Soon, relatives and neighbors join their ranks. However, the number of desperate people seeking shelter at the Hotel increases - at one point, a busload of orphans from the Red Cross shows up - and Rusesabagina finds himself in the role of protector and leader to these terrified masses. His tenuous connection with a Hutu general - forged during his days as the manager of the de Mille Collines - is the only thing keeping them all alive.

‘Hotel Rwanda’ is a beautiful and painful film to watch, yet with loopholes as glaring as the hot Rwandan sun. The ineptness of the UN peacekeeping force during that time (now-UN Secretary General Kofi Annan used to be overall in-charge) was best exemplified by Nick Nolte’s character, Colonel Oliver (a character based on Lt. Gen. Roméo Dallaire, the Canadian commanding officer of the UN Peacekeeping mission in Rwanda during that difficult period), whose increasing frustration reflects the audience’ own frustration with the international efforts - or the lack of it - to intervene in the matter.

Historically, the UN kept its hands off of the Rwandan matter because of French and American opposition, with silly questions like “How many acts of genocide must constitute a genocide?” being asked during debates. Most of the 2,500 UN peacekeepers in Rwanda at the time were withdrawn after the deaths of 10 Belgian soldiers. Ironically, in April 15 of 2000, The United Nations Security Council explicitly accepted responsibility for failing to prevent the 1994 genocide in Rwanda.

The film is visceral, full of vitality and conflict, and has special resonance to those who have been part of, or witnessed, such gruesome acts of humanity against itself. Although Director Terry George actually did not show any graphic violence, this has not diminished the terror - and the deep sense of hopelessness - felt by victims of the genocide. It is a maelstrom of emotions and sensations, most of which cover both ends of the spectrum: love and hatred, death and life, despair and hope, or revenge and acceptance. Shot entirely in Gauteng, Johannesburg, comparison to Schindler’s List is inevitable but one need not be as influential as Oscar Schindler or in this case, Paul Rusesabagina, to be able to make a difference in other people’s lives.

Don Cheadle was superb and sensitive. The integrity and intelligence he has brought to this film has earned him the attention of award-giving bodies, but nominations and critical reviews are by far his only real rewards for now. Not bad really, considering his recent involvement in ho-hum projects like ‘After the Sunset’ and ‘Ocean’s Twelve’. I last saw Sophie Okonedo (Tatiana, Paul’s wife) in the British film ‘Dirty Pretty Things’ (2002), and casually dismissed her as yet another unknown actress doing bit roles (she played the role of a prostitute there). In “Hotel Rwanda’, she has transformed herself by putting in a mature and intense performance. She will do well by choosing the right projects in the future.

Paul’s driver, Dube (Desmond Dube), posed a question worth contemplating on: “Why are people so cruel?” Paul answered, “Hatred. Insanity. I don’t know.” It really is impossible not to grieve, or at least be bothered and moved, by the death of thousands who have been victims of hatred, insanity, or the combination of both.

If anything, this film provokes audiences to nurture and cultivate within themselves the spirit of selflessness, to turn away from the culture of war with all its hatred and bigotry, and move towards the promotion of a culture of peace. The secret of the art of saving lives truly lies in the courage of one or more persons, even if it means putting other people’s lives over and above your own. It is only fitting that we can get to see this film in commemoration of those tragic 100 days, 11 years ago this April of 2005.

Comments welcome at dylangozum@yahoo.com

I JUST SAW

2005-05-21T04:22:00.000-07:00

ONDSKAN (Evil), from Sweden

Andreas Wilson (center) as Erik Ponti

Directed by Mikael Håfström, with writing credits by Jan Guillou (novel) and Hans Gunnarsson (screenplay). Shown in the 6th CineManila International Film Festival in Makati in 2004.

I JUST SAW

2005-05-21T04:16:00.000-07:00

I JUST SAW

2005-05-21T04:12:00.000-07:00

Guillaume Depardieu and Cathering Deneuve grace the opening of the film in Cannes

I JUST SAW

2005-05-21T04:05:00.000-07:00

SYNOPSIS

Based on the experiences of writer/director Duncan Roy, AKA concerns Dean Page (Matthew Leitch), a lonely, working class 18-year-old from 1979 South London who is determined to escape his humble origins. Fleeing his abusive father, he attaches himself to wealthy Lady Gryffoyn (Diana Quick), an art dealer with strong society ties.

After a spell spent as her plaything, Gryffoyn's son becomes suspicious of Dean's motives, and he is on his own once again. Needing another taste of the good life, he flees to Paris, where he passes himself off as Gryffoyn's son in order to get a job and ingratiate himself into the wealthy, gay, French jet set.

The DVD also features the theatrical triptych version, in which Roy utilizes a screen split into three simultaneous images to convey this sharp, fascinating portrayal of deception and the class system.

CAST & CREW

Matthew Leitch, Diana Quick, Blake Ritson
Directed by Duncan Roy

THE DEPARTED: UPDATES

2005-05-21T04:03:00.000-07:00

Cannes-winning actor Tony Leung in Infernal Affairs

Asian stories are bestsellers anywhere so Hollywood is cashing in on them. The story is there, a precedent has been established (money-making film), let's remake it! Duh.

Hollywood is dying to get its hands on Asian classics. 2004 and 2005 have seen the transformation of several film from Europe and Asia into Hollywood versions, sometimes with disastrous results. One best example, of course, was the terrible Hollywoodification of L'Appartement (1996) into the extremely yawn-provoking Wicker Park (2004). Now, more Asian films are on the block as well. Starting with Ringu (1998) to Ju-on (2000)last year, the HK action favorite Wu Jian Dao (Infernal Affairs,2002) is to be transformed into The Departed.

Here's the scoop.

Andy Lau In Infernal Affairs, a role to be played soon by Leonardo di Caprio

_________
Nicholson in Scorsese's The Departed
Source: Variety February 3, 2005

Jack Nicholson has joined Leonardo DiCaprio, Matt Damon, and Mark Wahlberg in director Martin Scorsese's The Departed at Warner Bros. Pictures. The crime thriller starts filming in April.

Based on the Chinese-linguage Hong Kong gangster film of the same name ("Wu jian dao"), Infernal Affairs will be reset in Boston amid Irish-American mobsters and the cops who are their nemeses. The film was written by William Monahan.

Damon will play a gangster who has infiltrated the Boston police department as part of its cadet class and has been steadily rising through the ranks. DiCaprio will play a cop who's been deep undercover inside the mob and is starting to come unglued. Each side works feverishly to flush the mole out, with deadly consequences.

Variety says Nicholson will play an Irish gang boss. A female co-star to play a cop psychiatrist has yet to be chosen.
_________

I hope they do justice to this one. It's definitely one of my favorite Hong Kong movie.

BROKEBACK MOUNTAIN: A TEASER

2005-05-21T03:57:00.000-07:00

Jake Gyllenhaal Struggled with "Painful" Gay Scenes
Nov -2004

Jake Gyllenhaal was left in pain after shooting gay love scenes with Heath Ledger in new movie Brokeback Mountain.

The pair play cowboys who fall in love in the western - and Gyllenhaal found the shoot particularly punishing.

He says, "Heath almost broke my nose in (a kissing) scene. He grabs me and he slams me up against the wall and kisses me. And then I grab him and I slam him up against the wall and I kiss him. And we were doing take after take after take. I got the sh*t beat out of me. We had other scenes where we fought each other and I wasn't hurting as badly as I did after that one."

Source: www.mostbeautifulman.com
=========

INT. BROKEBACK MOUNTAIN: CAMP: TENT: JUST BEFORE DAWN:

Both are warm inside JACK'S bedroll.

JACK is wide awake now. ENNIS, on his back is half-asleep.

JACK, tentative, takes one of ENNIS'S big hands from outside the bedroll
and guides it inside, down toward his own groin.

ENNIS, coming full awake, realizes where his hand is... jerks it away as
if he's touched fire.

Raises up, gets to his knees, unbuckles his belt, shoves his pants down
with one hand, uses the other to haul JACK up on all fours.

JACK doesn't resist.

ENNIS spits in the palm of his hand, puts it on himself.

They go at it in silence, except for a few sharp intakes of breath.

ENNIS shudders.
=========

Brokeback Mountain
Based on book by E. Annie Proulx
Screenplay by Larry McMurtry
Directed by Ang Lee (Yes, THE Ang Lee!)

Plot Summary:

A raw, powerful story of two young men, a Wyoming ranch hand and a rodeo cowboy, who meet in the summer of 1963 sheepherding in the harsh, high grasslands of contemporary Wyoming and form an unorthodox yet life-long bond-by turns ecstatic, bitter and conflicted.

Lead Actors:

Heath Ledger - Ennis del Mar
Jake Gyllenhaal - Jack Twist

Recent reports that Ang Lee is nervous about including explicit love scenes may still hold true — all the gay stuff may yet end up on the cutting room floor, and the director has told the Calgary Sun that the sexual scenes will be "modest". In fact, Cannes has rejected this film for viewing in the 2005 Festival.

However, anyone who has read Annie Proulx's heartwrenching story will know that this forbidden love is at the center of the tale. Ang Lee would also be a fool to let such a potent, buzz-building, controversial, and lust-inducing element fall by the wayside.

In March, Ledger told the BBC, "What is it about wrangling Jake Gyllenhaal up in the mountains that frightens me? Just that! But it obviously doesn't scare me away because I'm doing it. Aren't we at the stage these days when it just doesn't ******* matter?

It's a story of love and it's a story between two people. If people can't get over that and just accept it as a story, then that's their problem. I'm big enough and brave enough to do it in the fact that being brave is having to answer questions like that."

Just recently, Gyllenhaal deflected rumors that he was nervous about the role, telling the Calgary Sun that he understood the nature of the part, and intimating that he may have had a male crush at one time: "It’s about how impossible love can be sometimes and I can relate to that. I grew up in a family where many of our close friends were gay couples. As well as that, every man goes through a period of thinking they’re attracted to another guy.”

The film's gay storyline continues to create tremendous buzz because few if any young leading male actors have had the courage so far to step out into romantic gay roles in films of this scope. We'll hold out hope that none of the controversy is left in the editing room.

Source: www.towleroad.typepad.com

HOLLINGHURST NOVEL SET FOR SMALL SCREEN

2005-05-21T03:52:00.000-07:00

Booker Prize winner Alan Hollinghurst's The Line of Beauty will be adapted for the small screen by Andrew Davies, a screenwriter known for "sexing up" material. The Guardian reports, however, that not much sexing up should be needed as Hollinghurst's novel contains some very graphic descriptions of, uhurm, gay sex.

"[It is] a sumptuously written parable of the well-upholstered rise, decline and disgraceful fall of Nick Guest, an Oxford postgraduate who is a proud, detached connoisseur of literature, music and style. Guest arrives in London in 1983 to work on a doctorate on Henry James and becomes a lodger in the Notting Hill home of a wealthy family. He has a black, working class lover but harbours an unrequited love for the son of the family with whom he is lodging. The father of the household is a rising star in the Thatcher government."

The novel is being adapted for broadcast on BBC2.

Thanks to JGC for giving me a copy of this wonderful book. Going through it albeit at an extremely slow rate. Sigh.

AUDREY TAUTOU DEBUTS IN AMERICA

2005-05-21T03:39:00.000-07:00

Audrey Tautou at the Golden Globe Awards Ceremony, 2004

Audrey Tautou is ready to make her American film debut. The French actress, starring in "A Very Long Engagement" and best known for playing the title role in "Amelie", is in negotiations to star opposite Tom Hanks in Columbia Pictures' "The Da Vinci Code". Ron Howard is directing the screen adaptation of the Dan Brown best seller. Tautou would play French cryptologist Sophie Neveu.

Source: IMDBPro

SONGS FROM THE SCREEN - PART ONE

2005-05-21T03:21:00.000-07:00

Lulu sings the signature song of TO SIR WITH LOVE (1967)

Those schoolgirl days, of telling tales and biting nails are gone,
But in my mind,
I know they will still live on and on,
But how do you thank someone, who has taken you from crayons to perfume?
It isn't easy, but I'll try,

If you wanted the sky I would write across the sky in letters,
That would soar a thousand feet high,
To Sir, with Love

The time has come,
For closing books and long last looks must end,
And as I leave,
I know that I am leaving my best friend,
A friend who taught me right from wrong,
And weak from strong,
That's a lot to learn,
What, what can I give you in return?

If you wanted the moon I would try to make a start,
But I, would rather you let me give my heart,
To Sir, with Love

_______________________
Sang by Lulu for the film of the same title, she is a charismatic Scottish singer known for her moving rendition of this song. She was born Marie McDonald McLaughlin Laurie (one source cites "Lawrie" as the spelling).

She also sang the title song for the 1974 James Bond film The Man with the Golden Gun. From 1969 to 1973, Lulu was married to pop star Maurice Gibb.