MOVIE REVIEW - HEINTJI SORIANO

November 15, 2009

ENDO

 

HEINTJI S. SORIANO, BBRC 3-3

 

Producer: Ned Trespeces and Michiko Yamamoto    

Cast of Characters:

Jason Abalos as Leo

Ina Feleo as Tanya

CJ Javarata as

Ricky Davao as

Alcris Galura as himself

 

Director: Jade Castro

Writer: Jade Castro, Michiko Yamamoto and Raymond Lee

 

Synopsis:

 

Leo’s life is a series of terminable contracts. He was unable to finish school and forced to be the family’s breadwinner. He takes on five months service-oriented jobs, one after another. This movie will show us if Leo’s love affair with the spirited dreamer Tanya finally give him a taste of security.

 

Audience Stability: R13

 

Points of Observation:

 

The story of was primarily focused on the life of the main character(I forgot) played by the newbie Jayson Abalos. The struggles and the journey that he went through from his family, to his love life and down to himself. Endo was easily one of the best films of last year. It told a love story set in the world of contractual labor, where people are trained to accept that everything is temporary. It’s a heartbreaking little tale that says so much with so little. It’s the antithesis of the modern Filipino romantic film, which has degenerated into absurd stories about absurd people falling in love in absurd ways, all in service of promoting the latest flavor-of-the-month love team. Endo attempts to stick to what’s real, and the honesty is refreshing.

            As far as I researched, the writer began to relate this to his own experience working without permanent status at ABS-CBN. These elements eventually came together as the spark of an idea. There wasn’t any solid story yet, but Jade knew that the experience was something to be shared. These observations told a much richer story about the state of the nation, of the worldview that everything is temporary. It began as a character study of contractual workers, but as it was pitched to Cinemalaya, it became a love story.

Jade wanted the film to stick to the truth as much as it could, since he sees the film as a loving tribute to the young contractual workers of today. His goal was just accurately depict the situation without being patronizing or condescending. “I don’t believe that movies change things,” he says. Critics of Endo has bashed the film for not being political enough, saying that the film should have just said everything outwardly. But Jade sees it another way. “It all starts with a genuine observation, with describing the problem.” People don’t like being preached to, and they are smart enough to come to their own conclusions. Jade trusts his audience to start reflecting on their own, without the film having to yell rhetoric in their ears. It’s a refreshing sentiment; people often underestimate the power of realism over social realism.

One thing I don’t like a bout this film is the unrelated live scenes which made the movie ‘OA’. And that the leading lady in the film was not good in acting. I don’t like her. But the whole package was interesting but with shallow story but is still a love story. It is primarily a love story; a well crafted one at that. It is the kind of independent film that one can really get behind and fall in love with.

RATING: ***

 

 

HIMALA

 

HEINTJI SORIANO

 

Movie production output (Producer): Charo Santos Concio

 

Cast of characters:

 

Nora Aunor                 as                     Elsa

Spanky Manikan          as                     Orly

Gigi Dueñas                 as                     Nimia

Laura Centeno                         as                     Chayong

Ama Quiambao           as                     Sepa

Veronica Palileo          as                     Mrs. Alba

Vangie Labalan            as                     Aling Saling

Aura Mijares                as                     Mrs. Gonzales

Ben Almeda                 as                     Baldo

Cris Daluz                    as                     Igme

Joel Lamangan                         as                     Priest

Ray Ventura                as                     Bino

Pen Medina                  as                     Pilo (as Crispin Medina)

Joe Gruta                     as                     Mayor

Tony Angeles              as                     Chief of Police

 

Director: Ishmael Bernal

Writer: Ricardo “Ricky” Lee

 

Synopsis:

 

In the forgotten town of Cupang in the Philippines, a young woman named Elsa (Nora Aunor) announces that she has seen the Virgin Mary — and then demonstrates a new-found ability to heal the sick. Soon the whole village has become the center of international attention as people come from all over for statues of the saints and bottles of the village’s holy water. Among the hordes of visitors is a skeptical film director intent on visually recording Elsa’s healing powers — and without his knowing it, some frames capture a secret Elsa has kept from the world for a long time, a secret which led to her sister’s suicide.

 

Audience Stability:  PG13

 

Well honestly, I haven’t completed watching the movie because of some tech. difficulty. That’s why I forced to just read about the movie on the net and until now I already know 3/4s of it. Though it’s too impossible, I don’t have any bad criticisms about the movie because it is one of the best films that I read.

 

DELETED SCENES:

 

In scene 29, as Mrs. Alba and Mayor were talking about their plans for Cupang, there must be a jeepney roaming around but it was not shown in the movie.

In Scene 31 there were deleted lines.

 

Nimia: Kelangan ganda-gandahan nyo nman an gang mga suot nyo. Para kayong mga taga-baryo.

Nestoy: Putang ina!        

Intong: Kuya, bat ka nagmura? Sabi ng inay, magagalit ang Diyos!

Aling Pising begging alms to Orly. But Orly ignored her and Aling Piling said, Pupunta ka sa impiyerno, kuripot?

 

Line of the Driver (Kina Elsa na lng libre pa. Halika makiusap tayo do’n sa Intsik) as he was helping Narding who pretended that he was being hold-up.

 

Opinion:

 

These lines were deleted because these are not important.

 

 

ADDED SCENES:

 

Aling Pising carried her slippers and Elsa’s slippers while running after the ambulance after Elsa’s death.

In scene 23, Nimia was supposed to be holding a blanket but in the movie it was Igmeng Bugaw who was holding it.

 

Opinion:

 

They added to show the personality of Elsa.

 

RATING: *****

 

 

ORO, PLATA, MATA

 

HEINTJI SORIANO

 

Executive Producer:

Charo Santos-Concio

 

Cast of Characters:

            Manny Ojeda as Don Claudio Ojeda

            Liza Lorena as Nena Ojeda

            Sandy Andolong as Maggie Ojeda

            Cherie Gil as Trining Ojeda

            Fides Cuyugan-Asensio as Inday Lorenzo

            Joel Torre as Miguel Lorenzo

            Mitch Valdez as Jo Russell (as Maya Valdez)

            Lorli Villanueva as Viring Ravillo

            Ronnie Lazaro as Hermes Mercurio

            Abbo De La Cruz as Melchor

            Mely Mallari as Estrella

            Mary Walter as Yaya Tating    

            Agustin Gatia as Lucio

            Robert Antonio as Carlos Placido

            Benjamin Delina as Primo (as Ben Deliña)

 

Director:

            Peque Gallaga

Writers:

Jose Javier Reyes (screenplay)
Peque Gallaga,  Mario Taguiwalo, and Conchita Castillo (story)

 

Synopsis:

            Oro Plata Mata traces the changing fortunes of two aristocratic families in Negros during World War II. The Ojeda family is celebrating Maggie Ojedas (Andolong) debut. In the garden, Trining (Gil) receives her first kiss from Miguel Lorenzo (Torre), her childhood sweetheart. Don Claudio Ojeda (Ojeda) and his fellow landowners talk about war. The youngest guests mock Miguels refusal to join the army and brand him mamas boy. The celebration is cut short by news of the fall of the Corregidor. As war nears the city, the Ojedas accept the invitation extended by the Lorenzos, their old family friends, to stay with them in their provincial hacienda. Nena Ojeda (Lorena) and Inday Lorenzo (Asensio) try to deny the realities of war by preserving their pre-war lifestyle. Pining for her fiancé, Maggie goes through bouts of melancholy. Miguel and Trining turn from naughty children into impetuous adults.

 
Two more family friends a doctor, Jo Russell (Valdez), guerillas and Viring (Villanueva) join them. As the enemy advance, the families move to the Lorenzos forest lodge. A group of weary guerillas arrive and Jo tends to their injuries. The guerillas leave Hermes Mercurio (Lazaro) behind. Miguel endures more comments of the same kind when he fails to take action against a Japanese soldier who came upon the girls bathing in the river. It is Mercurio who kills the Japanese. Maggie comforts Miguel, who decides to learn how to shoot from Mercurio. Meanwhile, Virings jewelry is stolen by Melchor (de la Cruz), the trusted foreman. He justifies his action as a reward for his services. He tries his to break the other servants loyalty, but they force Melchor to leave. Later, Melchor and his band of thieves return. They raid the food supplies, rape Inday and chop off Virays fingers when she does not take off her ring. Trining goes with the bandits, despite all the crimes they have committed against her family. These experiences committed Maggie and Miguel closer together. Miguel urges the survivors to resume their mahjong games to help them cope. Miguel is determined to hunts the bandits down and bring Trining back. He catches them, but his courage is replaced with bloodlust, driving him to a killing spree. An epilogue follows the violent climax. The Americans have liberated the Philippines from Japan. A party is held in the Ojeda home to announce Maggie and Miguels betrothal. The survivors attempt to reclaim their previous lifestyle, but the war has changed the world, just as it has forever marked each of them.

 

POINTS OF OBSERVATION:

Hindi siya bastos no!

 

Ang pelikula ay tungkol sa pagbagsak ng dalawang aristokratikong pamilya sa Negros sa kapanahunan ng Digmaang Pasipiko, nagsimula ito sa dibu ni Maggie Ojeda (Andolong). Sa hardin, nagkaroon si Trining (Gil) ng kanyang unang halik mula sa kanyang kasintahan mula pagkabata na si Miguel (Torre). Si Don Claudio Ojeda (Ojeda) at ang kanyang kapwa asindero ay nagtalakayan sa digmaan. Ang di-pagsama ni Miguel sa hukbo ay nabanggit at tinutuya siya sa pagiging isang “Mama’s boy.” Ang balita sa pagbagsak ng Corregidor ay nagpatigil sa pagdiriwang. Medyo malalim yung mga salita ng mga artista dito kaya hindi ko rin maintindihan yung iba, isa pa dahil maingay sa room nung pinapanuod naming to. Nanahimik lang ng konti nung may mga nakahubad na sa lawa na lalaking naliligo.

 

Nang sumapit ang digmaan sa lungsod, ang mga Ojeda ay nagpasiya na tanggapin ang kanlungan sa mga Lorenzo, ang kanilang kaibigang angkan sa mahabang panahon, sa kanilang panlalawigang hacienda. Ang mga matriyarka ng dalawang pamilyang ito ay nagpatuloy sa kanilang aristrokratikong istilo ng pamumuhay. Ang kanilang mahinay na pagtanggi sa pagtanggap na ang digmaan ay naiga ng mga madalas na malubay na sasal ni Maggie na naghihimatong para sa kanyang katipan, at ang mga pagbabago nina Miguel at Trining mula sa mapaglarong bata sa mapagsapalarang balubata.

Ang dalawang kaibigan, Jo Russell (Valdez) at Viring (Villanueva), ay sumanib sa mga Ojeda at mga Lorenzo. Nang sumasapit ang mga kaaway, nagpasiya ang mga angkan na lumipat nang higit na malayo sa bahay-pahingaan sa kagubatan ng mga Lorenzo. Ang pangkamag-anak na kapayapaan ay nabasag nang dumating ang pangkat na madambong na gerilya. Hinilom ni Jo ang kanilang mga sugat. Naiwan ang isa sa mga sugatan, si Mercurio (Lazaro). Tinuya muli ng pamilya si Miguel ukol sa kanyang pananabang at karuwagan; sinabi ni Trining kay Miguel na walang ginawa nang ang sundalong Hapones ay pumapatay ng isang babaeng naliligo sa tabing-ilog. Si Mercurio ang pumatay sa Hapones. Inaliw ni Maggie si Miguel, at nagpasiya ang binata na mag-aral sa pamamaril mula kay Mercurio.

Pagkatapos ninakaw ni Melchor (De la Cruz) ang mga alahas ni Viring, nagbibigay-dahilan ng pagnanakaw bilang kabayaran para sa kanyang paglilingkod. Nagtangka siya na basagin na ang katapatan ng mga iba pang alila at tumaboy. Kinabukasan, tinutop ni Melchor ang paghihiganti nang bumalik siya sa kubo kasama ang mga tulisan. Kinuha ang mga pangangailangan, ginahasa si Inday (Asensio), iniwa ang daliri ni Viring nang tumanggi siyang isuko ang kanyang singsing. Sa kabila ng pinsala na ginawa sa kanyang pamilya, sumama si Trining sa mga tulisan.

Ang karanasan ay nakabuo ng isang bigkis sa pagitan nina Maggie at Miguel; ang mga naulila ay nakaraos sa pamamagitan ng pagpapatuloy ng kanilang mga pulong sa madyong. Nagpasiya si Miguel na tugisin ang mga tulisan at manumbalik si Trining. Nahanap niya ang mga tulisan, nguni’t ang kanyang bagong-hanap na giting ay pinalitan ng isang kaululang lunggati na pumatay. Ang madugong karurukan ay sumunod sa isang epilogo. Ang mga tagpo ay magkatulad, subali’t ang panahon ay katatapos lamang ng digmaan. Nagpahayag sina Maggie at Miguel ang kanilang tipanan. Ang mga naulila ay nagsumikap na ipagpatuloy ang kanilang lumang istilo ng pamumuhay sa kabila ng kanilang mga pilat mula sa digmaan. Nakuha ko tong buod na ito sa Wikipedia kasi hindi ko rin masyado nalaman yung gusting ipahatid ng storya dahil hindi ata naming natapos o hindi ko namalayan na tapos na. ang alam ko lang ay nagkaroon ng maraming parangal tong pelikulang ito at isa ito sa maraming pelikulang Pilipino na maipagmamalaki natin.

 

RATING: ****

 

 

Jan Dara

 

HEINTJI SORIANO

Movie Production Output (Producer): Peter Chan Ho- Sun and Allan Fung

 

Cast of Characters:

 

Sunwinit Panjamawat as Jan Dara at

Santisuk Promsiri

 

Christy Chung Lai-Tai as Khun Booleaung

Eekarat Sarsukh

Vipavee Charoenpura

Patharawarin Timkul as Jan Dara at

 

Director: Nonzee Nimibutr

Writer: Nonzee Nimibutr and Sirapak Paoboonkerd

 

Synopsis:

 

Jan is born into the wealthy Visanan family in Bangkok in the 30s. His mother died in childbirth. And his father is an officious civil servant who likes to be called Khun Luang (Master). He hates the boy so much that Jan comes to question his real parentage. Khun Luang exercises “droit de seigneur” with almost every woman in the household, starting from Jan’s nanny to the kitchen maid. Jan rebels against him. This is partly a matter of moral disgust. But when fate and one particular unwanted pregnancy overturn the balance of power in the household, Jan risks becoming the mirror image of the man he most despises.

 

 

Audience Stability: R18

 

POINTS OF OBSERVATION:

 

The story is one-of-a-kind. The struggles and conflicts in the movie were familiar but because of the different approach with the unfolding of the story, it’s as if everything stood out and gave an indelible mark. This movie was based on a very controversial novel that was deeply challenged and considered ‘unfilmable’ by the Thai community due to its steamy sex passages. The film tells the story of one young man’s growth into the mirror image of the father he despises and uses sex as its primary window into its character’s thoughts and emotions.

 

There is skin in this film, lots of it, and this is a major issue for a film coming out of Thailand, a country which to this day has strict rules against nudity on screen. Thus in making Jan Dara, maybe Nonzee Nimibutr picked himself one massive fight with Thai censors, a fight that acquired his film a sight-unseen international reputation as an on-the-edge erotic skin flick, a reputation that is somewhat deserved but, I think, entirely misses the point of what Nonzee Nimibutr is trying to do.

 

The film follows the lines of a typical coming of age story, but with a much darker edge. Most films of that type treat sex as a positive but, though the skin is present here in large quantity, sex is not particularly a positive force in Jan Dara’s life. At first, one may be drawn into the idea that this film is a Thai erotic film but I can surely say that sex here is all vaguely distasteful; the director used it to show how hollow these people are, how damaged, how unable to connect on any sort of meaningful level. The sexual content is used to show how Jan follows inevitably in Luang’s footsteps; the film does have an awful lot to say about the damage one generation can do to the next.

The film itself is absolutely gorgeous. The period detail is flawless and the entire production is bathed in warm amber light that gives everything a quiet glow. Every shot was bathed in a golden, sepia tone and a dreamy mood served as a foil to the story’s more sordid happenings. It moves at a measured pace and the literary roots come through clearly in a structure heavily dependent on voice over to move things from one event to another, from one era to the next.

Though none of the performers stand out as truly exceptional they are all perfectly solid, turning in good work from start to finish. But apart from that, I can say that Khun Boonleuang (Christy Chung) had a great performance. There were neither extraordinary shots nor transitions but the simplicity brought the film at its best. Nimibutr came through with some truly breath taking and shocking imagery in the final act.

The continuity is exceptional and the sequence gives you a chance to think of what is to happen and arouses one’s expectations, paving the way for one to delve deeply into the real message a certain part of the film. Audio per se, it’s all good. It heightened the predominance of whatever mood is prominent in a scene which is a positive aspect for the film.

Jan Dara, judging its narrative and stylistic approaches, is not a bright and cheery piece of entertainment but the film is stunningly beautiful with something to say about human nature and certainly worth a look.

RATING: ****

 

FAME

HEINTJI S. SORIANO, BBRC 3-3

Producer: Mark Canton,Gary Lucchesi, Tom Rosenbero, Richard Wright (Metro Goldwyn Mayer Pictures)

Cast of Characters:   

    Naturi Naughton as………………………………….. Denise Dupree

    Collins Pennie as…………………………………….. Malik Washburn

    Kay Panabaker as……………………………………. Jenny Garrison

    Asher Book as……………………………………….. Marco Ramone

    Kherington Payne as…………………………………. Alice Ellerton

    Walter Perez as………………………………………. Victor Taveras

    Anna Maria Perez de Taglé as……………………….. Joy Moy

    Paul Iacono as………………………………………… Neil Baczynsky

    Kristy Flores as………………………………………. Rosie Martinez

    Paul McGill as………………………………………… Kevin Barrett

    Debbie Allen as………………………………………. Principal Angela Simms

    Charles S. Dutton as………………………………….. Mr. Alvin Dowd

    Megan Mullally as……………………………………. Ms. Fran Rowan

    Kelsey Grammer as……………………………………. Mr. Joel Cranston

    Bebe Neuwirth as……………………………………… Ms. Lynn Kraft

 

Director: Kevin Tancharoen

Writer: Allison Burnett

Synopsis:

This movie is based upon the 1980 film which follows NYC talent attending the New York City High School for the Performing Arts, (Known today as Fiorello H. Laguardia H.S.) students get specialized training that often leads to success as actors, singers, etc. In 1936, New York City Mayor Fiorello H. LaGuardia founded the High School of Music & Art in order to provide a facility where the most gifted and talented public school students of New York City could pursue their talents in art or music, while also completing a full academic program of instruction. In 1948, the School of Performing Arts was created to provide training in performance skills to students who wished to prepare for professional careers in dance, music or drama.

Audience Stability: R13

MOVIE REACTION:

Dream It - Earn It - Live It! Well honestly, when I first saw the ad of Fame in the movie house, I just ignore it and put my attention into much interesting movie ads. The movie was ‘OKAY’ not as good as Step Up 1&2. Maybe because the ‘climaxes’ (yes, the many climax) of the movie are subdivide into four which is quite irritating.

 

According to the history, the movie was based upon the 1980 film which follows NYC talent attending the New York City High School for the Performing Arts, students get specialized training that often leads to success as actors, singers, etc. obviously that’s why in the first day of audition there are a huge number of aspiring artists. What I do recognize in the movie was the way they put-up the climax was quite weak and slightly irritating. Because it was like they made each year a separate story which made it hard to cope-up with (for me). I don’t any further comments like the movie Jan Dara which I find it interesting.ü just like what I observed, the movie was not too good nor bad, it was just “OKAY”.

 

 

Minsa’y Isang Gamu-gamo

 

HEINTJI S. SORIANO, BBRC 3-3

 

Movie Producer : Lupita Concio Kashiwara

 

Cast of Characters: Nora Aunor- Corazon Dela Cruz

                                   Jay Ilagan-  Bonifacio Santos

                                  Gloria Sevilla- Chedeng Dela Cruz

                                  Perla Bautista- Yolanda Santos

                                  Eddie Villamayor- Carlito

                                  Paquito Salcedo-  “Ingkong”  Menciong

 

Director:  Lupita Concio Kashiwara

 

Writer: Marina Feleo-Gonzales (story)

 

AUDIENCE: GENERAL PATRONAGE

 

MOVIE REACTION ESSAY:

 

Dahil ang pelikulang ito ay gawa ng pinoy, minabuti kong ilahad ang aking sarili sa natural na paraan. Ang Minsa’y Isang Gamu-gamo ay isang pelikula mula sa Pilipinas na pinagbidahan ni Nora Aunor bilang Corazon de la Cruz at ipinalabas noong 1976. Ito ang unang komersyal na pelikula na may elementong pagbatikos sa pamamalagi ng mga base militar ng Estados Unidos sa Pilipinas. Naisip ng mga prodyuser na hindi pahihintulutan ng Pangulo noon na si Ferdinand Marcos ang pagpapalabas ng isang pelikulang hindi sumasang-ayon sa base militar ng Estados Unidos. Kaya sa kadahilanang ito, pinili nila si Nora Aunor bilang pangunahing artista dahil naniniwala sila na may koneksyon si Aunor sa Pangulo at sa Unang Ginang Imelda Marcos.

Sa abot ng aking makakaya, sa kabila ng maiingay kong kapatid at madaldal kong nanay, pinanuod ko ito ng mataimtim at may hinahon. Maganda ang pelikula dahil ito’y sumasalamin sa buhay ng mga Pilipino ng panahon ng rehimeng Marcos. Ang pagkakaisip ng manunulat kung ano ang mangyayari sa kapatid ni Corazon ay nakakbigla dahil sa kadahilanang paalis na ng bansa si Corazon at nangyari ang mga bagay na iyon.

Ang pelikulang ito ay nasa direksyon ni Lupita A. Concio, panulat ni Marina Feleo-Gonzales, at pinagbibidahan nina Nora Aunor, Jay Ilagan, Perla Bautista, Gloria Sevilla, Eddie Villamayor, Paquito Salcedo, atbp. Kilala ang pelikulang ito sa linya “My brother is not a pig…” (Ang kapatid ko’y hindi baboy) na sinambit ng karakter ni Aunor na si Corazon de la Cruz. Madalas itong banggitin ng mga nanggagaya kay Aunor katulad nina Teri Onor at Ate Gay. Para naring nagging trademark na ni Nora itong linyang ito dahil sa paraan ng pagkakabigkas niya dito ay tunay nga na kakila-kilala.