THE GOOD
It’s an exciting time for the film industry. It really is. Don’t get me wrong, I hate that I missed out on the cinemalaya full-length film entries. I wanted to punch the first person who showed us the “sold out” sign plastered on all the movie titles we wanted to see. The news sucks and the bearer’s insensitivity to its devastating effect was just worse. I swear, in my head, Kimura Lock was the only rational response. Good sense prevailed upon me, and I did manage to hold off violence. After realizing that I’m too old to throw a tantrum and too short to be a UFC contender, the irrefutable fact finally dawned on me. The indie films found success. Sold out screenings showed that Filipinos are watching; they are ready and they, apparently, want more. That mainstream impact, that’s bigger than me and my cinemalaya09-miss-out. It’s a win for the indies and the film buffs who love them. My regret was overshadowed by the big, bright future of movies.
Three years ago, Cinemalaya was unheard of, except by movie junkies and the outcasts of the showbiz world. I know this as a fact because when I went to screen the entries on 2006, the people in my queue talked like couch potatoes and the actors there were people you can hardly remember by name. The change is refreshing. It was so crowded, I feel like I was at a Transformers’ Premiere Night.
THE GREAT
Three years ago, Cinemalaya was unheard of, except by movie junkies and the outcasts of the showbiz world. I know this as a fact because when I went to screen the entries on 2006, the people in my queue talked like couch potatoes and the actors there were people you can hardly remember by name. The change is refreshing. It was so crowded, I feel like I was at a Transformers’ Premiere Night.
THE GREAT
We managed to catch the Shorts B Collection. Bonsai is exceptionally touching and the audience gave it a deserving thunderous applause. Angel Aquino, as always, is lovely. It was hard at first to see her as Daisy “the labandera”; but her on-screen chemistry with the awkwardly-charming security/caretaker named Romy is a real gem. It worked, and it was easy to hope that maybe, with enough “bonsai” care, anyone can have the love they want.
THE GHASTLY
THE GHASTLY
So after a hasty Jollibee break, we continued our film trip with “Walang Hanggang Paalam”. The title is the same as one of my favourite Filipino songs which, coincidentally, was used in Donsol, the 2006 Cinemalaya entry which likewise starred Angel Aquino. The only reason I’m building this up is because I really want to say that I had high hopes for “Walang Hanggang Paalam”. I took two rail transit rides and a cab to get to CCP, I really wanted to see something good. I know that it wasn’t my first choice for the 6:15pm sched, but if a movie could translate at least 10% of how Joey Ayala’s song make me feel, I knew my long commute would have been worth it.
But “Walang Hanggang Paalam” the movie is horrid in its absurdity. It tells of the story of a Japanese national in search of his long lost love and a daughter yearning for his long lost father. The two met, they ended up having an affair, and in the end they discovered, what was so glaringly obvious to the audience from the beginning, that they were father and daughter. If I were its filmmaker I would just use the English title and change it to “Mahabang Paalam”, just out of respect for Joey Ayala’s endeared folk ballad. Better yet, if I were its filmmaker, I would just slap myself repeatedly until I regain some lucid interval. The movie was just unbearable. It’s filled with scenes that are both senseless and unnecessary and the characters are as contrived as the plotline. It was a misery to watch. We left hurriedly after the last scene. I personally didn’t want to see the actors when they turn on the lights. I think they suffered enough.
The movie made me think of the Korean movie “Old Boy” which likewise tackled the theme of incestuous relationships. When I first saw the Korean classic, I didn’t like it. It was hailed by critics but I personally found it too twisted and disturbing. Seeing “Walang Hanggang Paalam”, however, made me appreciate “Old Boy” and its brilliance. “Incest” is too dark and delicate a theme to be handled half-heartedly; and I’m seeing more clearly now why its director Park Chan Wook attacked it in such a strong and shocking way. He wanted to present perversion at its barest and most unsettling. It’s apparent that there was full recognition and intent to bring it to the brutal and grief-stricken extreme, if only to expose how heart-and-soul shattering “incest” is. This cinematic-metaphor is truly exemplary. “Walang Hanggang Paalam”, on the other hand, didn’t have a voice in this sensitive issue, and seems oblivious of its importance. Perhaps the filmmakers were too engrossed in the useless blow-job-scene or the glorified music video finale that they hardly had time to discuss whether or not the story they are going to put out there on the screen is tenable or trash. They just diluted the taboo in some senseless romanticized version, without purpose and without care, and they seem convinced that the viewers are going to take it all as art. It’s insulting and physically revolting. They should be thrown in a cheap and smelly moviehouse for a month and be ordered to watch the garbage that they imprudently titled “Walang Hanggang Paalam” over and over again. If that kind of cruel and unusual punishment won’t teach them a lesson, I don’t know what will.
But “Walang Hanggang Paalam” the movie is horrid in its absurdity. It tells of the story of a Japanese national in search of his long lost love and a daughter yearning for his long lost father. The two met, they ended up having an affair, and in the end they discovered, what was so glaringly obvious to the audience from the beginning, that they were father and daughter. If I were its filmmaker I would just use the English title and change it to “Mahabang Paalam”, just out of respect for Joey Ayala’s endeared folk ballad. Better yet, if I were its filmmaker, I would just slap myself repeatedly until I regain some lucid interval. The movie was just unbearable. It’s filled with scenes that are both senseless and unnecessary and the characters are as contrived as the plotline. It was a misery to watch. We left hurriedly after the last scene. I personally didn’t want to see the actors when they turn on the lights. I think they suffered enough.
The movie made me think of the Korean movie “Old Boy” which likewise tackled the theme of incestuous relationships. When I first saw the Korean classic, I didn’t like it. It was hailed by critics but I personally found it too twisted and disturbing. Seeing “Walang Hanggang Paalam”, however, made me appreciate “Old Boy” and its brilliance. “Incest” is too dark and delicate a theme to be handled half-heartedly; and I’m seeing more clearly now why its director Park Chan Wook attacked it in such a strong and shocking way. He wanted to present perversion at its barest and most unsettling. It’s apparent that there was full recognition and intent to bring it to the brutal and grief-stricken extreme, if only to expose how heart-and-soul shattering “incest” is. This cinematic-metaphor is truly exemplary. “Walang Hanggang Paalam”, on the other hand, didn’t have a voice in this sensitive issue, and seems oblivious of its importance. Perhaps the filmmakers were too engrossed in the useless blow-job-scene or the glorified music video finale that they hardly had time to discuss whether or not the story they are going to put out there on the screen is tenable or trash. They just diluted the taboo in some senseless romanticized version, without purpose and without care, and they seem convinced that the viewers are going to take it all as art. It’s insulting and physically revolting. They should be thrown in a cheap and smelly moviehouse for a month and be ordered to watch the garbage that they imprudently titled “Walang Hanggang Paalam” over and over again. If that kind of cruel and unusual punishment won’t teach them a lesson, I don’t know what will.
