Sunday, November 6, 2016

ROAD, MIRROR, CEREMONY AND FIRE

Depiction of marriage in movies such as Two for the Road (1967), The mirror has two faces (1996), Kasal, Kasali, Kasalo (2006) and Fireproof (2008).
            There are plenty of movies that discuss marriage on different level and perspectives. The following are the best marriage – themed movies:
            Two for the Road (1967) is about a couple fond of taking trips as they deal with the ups – and - downs of their 12 years married life. The spouse’s journey symbolically represents the sweetness and hardships on their marriage.
At the opening scene, Joanna (Audrey Hepburn) and Mark Wallace (Albert Finney) saw an unhappy newlywed couple. Both had opinions to the two young couple which reflects to the irony of their marriage. These make the audience connect with the tension between spouses. In Joanna’s perspective, the scene goes back on how she met her husband and how they got along well. As the story goes, the scene jumps to their reluctant trip together with unpredictable American tourists Howard (William Daniels), Cathy (Eleanor Bron) and their delinquent daughter Ruthie (Gabrielle Middleton). On yet another trip, the pair encounters vehicle wreckage. This is the time when Joanna announces her pregnancy. Mark never wanted a child while Joanna longs for it. In addition, they also met a wealthy couple which offers Mark a job and ultimately takes him far away from his pregnant wife. The scene focuses now on Mark’s point – of – view, while travelling alone; Mark gave in to temptation to have an illicit affair with a stranger lady and committed infidelity. Later on, Joanna also embarks in a liaison. The film’s most remarkable dialogues are when they both ask each other on what kind of married people usually do.  The film concludes in another road trip where the couple realizes the essence of their marriage and that they need to stay true to their vows as a married couple.
This is a must – see road movie. This film not only captures the breathtaking location on France but also the maturity of two people on their married life. In a very different way, the movie utilizes  jump cut style. A style only used by French New Wave directors such as Truffaut, Godard and Resnais.
Director Stanley Donen breaks away to the conventional three – act structure. Writer Frederic Raphael sensibly pens the dialogue as well as blends humor and serious aspects to his script. The editing style of this movie, on their time, is complex which more the critics should appreciate. And the last but not the least the hauntingly lyrical musical score of Henry Mancini that suits to every scene.
Audrey Hepburn proves that she is not only limited as the Hollywood romantic comedy queen but she is also a respectable actress. This movie provides her another impressive and more challenging part of her career. This is one of her memorable mature films after Breakfast at Tiffany’s (1961), The Children’s Hour (1961) and Charade (1963). Again, her status as a fashion icon is absolutely shown in the movie. As the decade spun, her clothes also go with the trend. Albert Finney’s portrayal is excellent as well. His comic timing matches the ethereal and loveable Hepburn. The chemistry between the two players makes audience longs for something more. Both actors are excellent.
Meanwhile, The mirror has two faces (1996) is a remake of a 1958 French movie. Barbra Streisand led the remake and took the helm. Jeff Bridges co – stars as her love interest. Supporting players are Oscar – nominee Lauren Bacall, Mimi Rogers and Pierce Brosnan. “I Finally Found Someone” is the movie theme sung by Streisand and Bryan Adams.
Rose Morgan (Barbra Streisand) is a plain, frumpy, middle – aged English literature professor, who shares a house with her vain and overbearing mother Hannah (Lauren Bacall). She got the brains in the family while her sister Claire (Mimi Rogers) got the looks. Soon as the latter prepares for her wedding to Alex (Pierce Brosnan), Rose loveless life makes her gloomy, especially since she kept her feelings toward Alex a secret.  Gregory Larkin (Jeff Bridges) teaches Mathematics at the same school as Rose, and he feels sex serves no purpose but complicates matters between men and women. He is looking for a relationship based on intellectual rather than physical. When he eavesdrops over Rose’s lecture about chaste love in literature, he’s intrigued. He asks her out and impressed by her wit and knowledge. Gregory is so taken with Rose that he proposes marriage, with the condition that it will be largely platonic and without sexual relations. The idea of spending the rest of her life as a lonely spinster living with her mother seems far worse than a marriage without passion. So, she accepts the proposal. However, Rose’s attraction to Gregory grows, and one night she puts her best night gown and attempts to seduce him, much to his annoyance and confusion. When he departs on a lengthy lecture tour, and after Hannah reassures heartbroken Rose that she was a beautiful child, Rose embarks on a crash course in self – improvement. She lets herself engage in activities like having a diet, exercise and make – over. When her husband returns, he finds a different woman waiting for him. He is too shocked to express his feelings while Rose leaves him because of the mistake accepting a passionless marriage. At the conclusion of the film, Rose realizes her change is not always to be her liking and the two finally accepts each flaws and recognize their deep affection.
“…it's rare to find a film that deals intelligently with issues of sex and love, instead of just assuming that everyone on the screen and in the audience shares the same popular culture assumptions. It's rare, too, to find such verbal characters in a movie, and listening to them talk is one of the pleasures of The Mirror Has Two Faces . . . this is a moving and challenging movie,” as Roger Ebert reviewed the film. I absolutely agree with him. It reminds me of the documentary “Biglang Liko” made by my UE Caloocan classmates that tells us there’s nothing wrong in sex as long as it’s done within marriage.
Barbra Streisand character seems associated to her earlier role such as the ugly duckling – turned – into - swan Funny Girl and a tinge of her sexually – frustrated character in contemporary The Way We Were. Well, it’s very notable that she is also the director, producer and singer of the film. The long overdue Oscar – nominee Lauren Bacall proves her screen presence again as the vain, overbearing, sardonic but a good mother. Jeff Bridges has unquestionably established himself as a character actor. In a non – Bond role, Pierce Brosnan’s characterization of the shallow Alex is enough to play his supporting character. One of the most remarkable moments of the film is when Rose laments: “Why put make – up on? It’s still me, only in color,”
The theme song “I finally found someone” is another way to market the movie. There’s nothing new about the style and story of the film. It’s just that the role of sex in marriage is thoroughly discussed in the movie.  Occasionally, The Mirror Has Two Faces is another rom – com that put its place to the genre.
Kasal, Kasali, Kasalo (2006) is a movie based on an award – winning screenplay of Mary Ann Bautista. Real – life sweethearts Judy Ann Santos and Ryan Agoncillo portrayed passionate lovers that decided to marry soon after they just met. Jose Javier Reyes adapted the screenplay and directed the film. Supporting actors are Gina Pareño, Tuesday Vargas, Derek Ramsay and Soliman Cruz.
Angie (Judy Ann Santos) is a no non – sense provincial lass turned television producer and Jed (Ryan Agoncillo) is a laid – back bachelor. They decided to become lovers when they find themselves capable to enter a relationship. When Jed’s parents (Ariel Ureta and Gloria Diaz) force him to migrate to US, he does the unthinkable – he proposes to his fiancé.  Issues such as the hasty preparations of the wedding and the tension between their families ensue.
Philippine cinema had never been of late to produce its own version of marriage – themed movies. Classic exemplars are Ishmael Bernal’s Broken Marriage and Olivia Lamasan’s Hanggang Kailan Kita Mamahalin? to name a few. Kasal, Kasali, Kasalo now joins the array of these well – executed marriage – themed movies. It only differs with the comic approach, great romp of acting, memorable soundtrack and magnificent direction.
Judy Ann Santos shows her other side as an actress. She is funny portraying her character. Her real – life husband Ryan Agoncillo blends well with their comic and bittersweet scenarios. He is surprisingly a charismatic leading man on his own natural way of acting. They have made a great on – screen chemistry. Gina Pareño has ever been astonishing as a scene - stealer fishwife mother. She deserved to get the Best Supporting Actress trophy of the 2006 Metro Manila Film Festival. She managed to bring her audiences to roll as she manifested it in her earlier comedy movies such as Working Girls (1984) and Booba (2001). Moreover, her recognition the same year with her breakthrough role in Kubrador distinguishes her as one of the greatest actresses of Philippine Cinema. Gloria Diaz as the not – so – pleased mother of Ryan Agoncillo is also remarkable. Soliman Cruz’s partaking as non – pretentious promdi father of Judy Ann Santos is noteworthy. Other supporting actors rhymed together in delight. Kasal, Kasali, Kasalo definitely deserves applause and award giving bodies not only in our country but also to international film festival.
On the other hand, Fireproof (2008) is about a firefighter who is dedicated to his job but ironically never looks at his marriage on fire.
Captain Caleb Holt (Kirk Cameron), a firefighter from Georgia, holds to the old firefighter’s motto “never leave your partner behind” but his relationship with his wife Catherine (Erin Bethea) is not considered in the adage. Their marriage for seven years is disintegrating due to the fact that each has its own faults. The couple always argues over career, household chores, finances and necessities. Caleb ignores Catherine’s disabled mother as she is in need of hospital equipment which the wife can’t afford and resents to her husband. Alongside, he is saving money for the boat he longs to own. Catherine also begins to show interest along a resident physician on a hospital where she works. The doctor shows affection for Catherine. Moreover, he does not even asks her civil status. Just as both parties prepare to officially dissolve their marriage, Caleb’s father John challenges his son to commit to a 40 – day test named “The Love Dare” hoping to sew up their misleading marriage. Initially, the wife is not convinced to the sincerity of her husband. She is also influenced by her colleague confusing pieces of advice. As Caleb’s eagerness to continue the test, he changes from hot – tempered to a loving husband. Later on, her wife also realizes his effort and sincerity to work on their relationship. Moreover, she discovers that Caleb pays for the hospital equipment her mother need. The couple renews their vows on the denouement.
            The movie is a direct manifesto to every married couple. The situation of Caleb and his wife, Catherine, do not differ to most married people. Marriage, as part of sanctimony, must give importance not only for the fact that two people are tied because of a contract but also it is a testimony of love to each other and a covenant. Furthermore, the laws of people and the laws of God combined to prove that two people vow to live in sickness and in health, for better or for worse.
            Fireproof sure catches the viewers’ interest even it provides multiple messages to audience. At certain points, the movie can’t distinguish the difference between superficial and in-depth. There are also unnecessary characters or superfluous subplots (such as the overconfident co – worker of Caleb, the appearance of an old lady that gives advice to Catherine’s marriage and the not – so – nosy  Caleb’s neighbor) which must be given concrete minor story or subplot or simply it’s even good to remove some of these characters in the narrative. Furthermore, Catherine’s business is not clear in the movie. Her job is ambiguous. You can’t tell if she’s just a TV host or a part – time medical worker or working on the hospital as host of a particular public affairs program. It can’t be expected to surpass or equaled other Christian movies and mainstream inspirational movies but it never forgets to give the true meaning of marriage.
            Kirk Cameron shines as the workaholic firefighter but stubborn husband who learns to forgive himself as well as rekindle the passion of his marriage through a love dare. He shares his passion in acting as he gives the message of the Lord. Erin Bethea’s acting as the distraught wife suffices to support Cameron’s performance . Writer – producer – editor – director Alex Kendrick’s efforts are not wasted. Hence, likewise to Cameron, he doesn’t selfishly promote and limits the films to a wake – up call but spread the gospel through teamwork and the testament of this movie. No doubt, the movie amassed a generous 33 million dollars at the box – office.

WAR ROOM: Spiritual warfare brought into screen at its finest



"Don't fight  here! This is the war room!" as one character in the film Dr. Strangelove stated.

Yes, if we can take war room literally as it is or we can just pick that idea or we can also think of other war room instead.

On a serious note, Paul said in Ephesians 6:12, "For our struggle is not against flesh and blood, but against the rulers, against the authorities, against the powers of this dark world and against the spiritual forces of evil in the heavenly realms." That's what this film is all about. From that Biblical verse, we get a glimpse of a different war room.

From the creators of Flywheel (2003), Facing the Giants (2008) and Courageous (2011), comes another story of love, forgiveness and faith.

Tony (T. C. Stallings) and Elizabeth Jordan (Priscilla Schirer) together with their daughter Danielle (Alenna Pitts) seem to have a picture of a perfect family. However, the head of the household, Tony, has hideous agenda. He steals products from the pharmaceutical company his working with, tempted to cheat on his wife, becomes verbally abusive to his wife and never available for his daughter.

Elizabeth, a realtor by profession, meets elderly Ms. Clara (Karen Abercrombie) who is interested to sell her house. Ms. Clara discerns Elizabeth's situation and gives her pieces of advice to pray for
it. She also shows Elizabeth her praying room which she calls "War Room". She believes that "in order to stand up and fight the enemy, you need to get on your knees and pray."

Elizabeth struggles first in praying for her husband. Then, she learns to trust God and pray seriously for Tony. While, he's away on a business trip he has a dinner with another woman. She tempts her to go on her apartment. He suddenly is ensnared by the woman however he gets nauseous and runs to the toilet to throw up.

Afterwards, his boss finds out that he's stealing drug samples. He gets terminated because of that. Tony repents and asks God for help. Unbeknownst to Elizabeth and Danielle, he hides drug samples and he's doing it for a long time. He also surrenders the remaining samples he has to his boss even though it could send him to prison. Tony's former boss is surprised but admires his confession. His former boss decides not to press charges anymore. Tony sees his daughter practice for jump roping skills because of a Double Dutch competition at the local community center. He decides to joins his daughter and her friends to the contest. Their team gets the second place in the final result. It doesn't harm Tony and Danielle's relationship instead it makes their bonding grow stronger.

Elizabeth successfully sells Miss Clara's house to a retired pastor. He discerns that someone is using one room in the house for praying sessions and that makes his firm decision to buy the house. Tony, on the other hand, is offered a job as a director of the community center. It's not as high paying work unlike his previous job but he realizes that Elizabeth's extra work and his new job can make their family survive. He gladly accepts it.

The film concludes with Tony surprising his wife by giving her favorite dessert and a foot massage. Miss Clara, on the other hand, lives with her son and prays a powerful prayer.

Among the four Kendrick Brothers movies made, this one so far is my favorite. Marriage as a main plot and theme of the story in Kendrick Brothers movies is often discussed. It has also an in-depth look from their previous movie "Fireproof". In "War Room", though it has different characters and situations, it is poignantly depicted. Miss Clara as a supporting character has a great impact to the lead character Elizabeth to put her trust on God regarding her marriage through prayer. In "Fireproof" (2008), Caleb's father let him have the 40-day love journey through a journal and prayer. It's noticeable that there were unnecessary characters in "Fireproof" as well as superfluous subplot. In "War Room", we can see the improvement of Kendrick Brothers in storytelling, narrative and direction as well as technical aspects, aesthetic, artistic and creative values.

In the scene where Tony confesses and asks for his wife's forgiveness, Elizabeth's  (Priscilla Shirer) response through her nuance is subtle. She tells her husband, "I'm not done with us. I will fight for our marriage. I've learned that my contentment doesn't come from you. I'm His before I'm yours. And because I love Jesus, I'm staying right here."

There's also a hair-raising or goosebumps  moments when Elizabeth realizes that she's more than a conqueror. It is when he rebukes and thwarts the enemies distractions by declaring God's power. This moment is powerful among memorable speeches in mainstream movies. "I don't know where you are, devil... You have played with my man. ...No more! You are done! Jesus is the Lord of this house and that means there's no place for you here anymore. So take your lies... accusations and get out in Jesus name! My joy is found in Jesus and just in case you forgot, He has already defeated you, so go back to hell where you belong and leave my family alone!"

War Room might sound preachy to some viewers. It is still enjoyable to watch and it depicts an accurate look at marriage. War Room brings us to a different level of experience specifically regarding prayer. It may not happen to us the way we see it in the movie but prayer is an essential part of life.


LIPSTICK AND LETHALITY: A Discussion on the femme fatale archetype characters in film by: Nick De Ocampo




Na-excite ako sa discussion ng Femme Fatale sa UP Film Studio na inorganisa ng UP Cinema noong Oktubre 27. Si Nick De Ocampo ang kanilang speaker. Isa sa mga paborito kong tauhan sa mga lumang pelikulang noir ang femme fatale. Naalala ko tuloy ang mga paborito kong femme fatale na karakter tulad nila Norma Desmond (na ginampanan ni Gloria Swanson) sa pelikulang Sunset Blvd., Evelyn Mulwray (Faye Dunaway) sa pelikulang Chinatown at Amy Elliott Dunne (Rosamund Pike) sa pelikulang Gone Girl.

Bukas muli sa publiko ang film forum. Ilan lamang ito sa open-to-the-public film forum ng UP.

Laking gulat ko na ako lamang ang outsider na pumunta ng film forum na ito. Karamihan sa kanila ay estudyante pa ng UP. Nabasa ko kasi ang mga comments ng mga hindi taga-UP sa post ng event na ito sa facebook. Kung maaari ba silang pumunta, binigyan naman sila ng sagot na maaari silang pumunta.

Tanyag na film scholar, scriptwriter, director, film critic at film historian si G. Nick De Ocampo. Nakilala siya sa mga docu-film tulad ng "Oliver".

Na-enjoy ko ang discussion nya tungkol sa femme fatale. Una niyang hinalimbawa ang mga itinuturing na femme fatale sa panitikan at kasaysayan tulad nila Salome na akda ni Oscar Wilde at Mata Hari.

Ikinumpara niya ang femme fatale at vamp.

Ayon sa kanyang pagkakatalakay, ang femme fatale ay stock characters o archetype in cinema. She is a mysterious and seductive woman who uses her charms to ensnare her man (target or bait) often leading them into compromising, dangerous and deadly situations. Samantalang ang vamp mula sa salitang vampire ay unrepentant and uses her body for upfront sexual advances as a motive in getting something she wants.

Marahil ay nakakalito ay pagkakahambing at pagkakaiba ng dalawa.

Nabigyan ito ng linaw ng mas binigyan ng mga pinagmulan ang femme fatale sa film noir. Dark ang theme ng mga film noir. Mula sa French word ang noir na tumutukoy sa kulay itim. Kaya mapapansin ito sa mga film noir noong 30's at 40's na bumagay sa black and white. Mapapansin din ang lighting na ginagamit sa mga film noir na madalas ay may kadiliman at ang mga krimen ay nangyayari sa dilim.

Naitanong ko tuloy kay G. De Ocampo kung ang mga ginagampanan noon ni Marlene Dietrich ay isang vamp. Napapansin ko kasi na masyadong mapangahas si Dietrich sa mga roles niya tulad na lamang ang saloon girl role nya na si Frenchie sa pelikulang "Destry Rides Again". Depende daw ito sa kung paano binigyang buhay at interpretasyon ang tauhan ni Dietrich.

Ipinakita ni G. De Ocampo ang isang litrato ng nakaupong babaeng mapang-akit, ma-alindog, namumula ang labi sa pulang lipstick at mukhang maghuhubad ng? feather shawl o blazer? At lalaking may cleft chin na hawig ni Aaron Eckhart ang nakahawak sa kanyang? baston. Ganyan na ganyan kung ilarawan ito ni G. De Ocampo. Huwag daw namin isara ang aming isipan. Tinanong niya kung ano ang maaaring simbolismo na nakikita namin sa larawan. Walang sumagot. Dito na po nagbigay ng reaksyon ang Binibini este Kagalang galang na Ginoong De Ocampo. Hahaha. Na malay ba naman namin kung tumayo na ang ano ni koya sa picture. Dinagdagan pa niya ng linyang, "He is coming! He is COMING!" sa kanyang flaunting na boses. Mukhang wala na raw atang kinabukasan ang pelikulang Pilipino kung hindi kami marunong bumasa ng simbolismo, nuance at subtext sa mga pelikula. Pwede rin daw gawan ng re-enactment ang ipinakitang larawan sa forum na iyon. Sir Nick talaga oh!

Bigla na lamang niyang iinsert ang kanyang political views na talagang witty. Natatawa ako kapag naalala ko yung sabi nya sa isang pulitiko na "happy days are here again kay lola mo." At sa isa pang pulitiko na naging kontrobersyal sa kanyang pagkakasangkot sa droga. Baka daw biglang mag-revenge ito ala-femme fatale. Charaught!

Binago niya ang slides at napunta kami sa epitome ng femme fatale na si Norma Desmond (na mahusay na ginampanan ni Gloria Swanson). Halos ituring na siyang crazy actress sa napakagaling niyang pagkakaganap.

Dito na naitanong ni G. De Ocampo kung meron bang femme fatale sa pelikulang Pilipino? Naitanong ko kung maituturing ba na femme fatale ang pagkakaganap ni KC Concepcion sa pelikulang "Arturo Porcuna BOY GOLDEN: Shoot-to-kill". Hindi ito napanood ng aming speaker. Kaya hindi niya ma-evaluate.

Dito na niya kami hinayaang tuklasin ang dalawang karakter sa dalawang pelikulang Pilipino maaaring ituring na film noir at ang mga pangunahing tauhan naman ay femme fatale. Ito ang "ANGELA MARKADO" na pinagbibidahan ni Hilda Koronel mula sa direksyon ng yumaong National Artist na si Lino Brocka at ang kapa-panalo kamakailan lamang ng Golden Lion sa Venice Film Festival "ANG BABAENG HUMAYO" na pinagbibidahan ni Charo Santos mula naman sa direksyon ni Lav Diaz.

Una niya sa aming pinapanood ang mga eksena sa pelikulang "ANGELA MARKADO".

Sa totoo lang, isa ito sa paborito kong pelikula ni Lino Brocka. Nasaktuhan ko lang ito na mapanood ng ipalabas ito sa TV. Kamakailan lamang ay ginawan ito ng remake na ang bida ay si Andi Eigenmann. Pero "nothing beats the original".

Una niyang ipinakita ang rape scene sa pelikulang ANGELA MARKADO. Ipinaliwanag ng tagapagsalita na dahil ang Pilipinas ay isang third world country at ito ay ginawa noong dekada '80 ay mahirap bigyan ng maayos na posisyon ang ilaw para sa lighting subalit nakadagdag ito sa foreboding moments sa magaganap kay Angela (Hilda Koronel). Sa eksenang iyon, mag-isa lamang si Angela sa isang madilim na kalsada.Biglang dumating ang isang parang owner-type jeep at dinakip si Angela. Dinala siya sa isang abandonadong gusali kung saan siya ay pinasayaw muna na mala-theatrical ang dating bago siya gahasain.
Sumunod na eksena ang kanyang paghihiganti kung saan ay gumagamit ng wig si Angela upang magpanggap ng ibang tao.
Pangatlong eksena ang nahuli siya ng kapatid ng isang tauhan at nabunyag na ang kanyang lihim. Dito sinabihan si Angela na may huwag niyang ilagay sa kamay niya ang batas. Dito sinabihan kami ni G. De Ocampo na makinig mabuti sa linya ni Angela.

"Mahirap lang ako."

Dito binigyang diin ni Angela ang kanyang katayuan sa lipunan na sumasalamin sa mga napapanahong isyu.

"Pagbigyan mo na ako."
Biglang lumambot si Angela at humihingi ng pabor upang makuha niya ang inaasam na paghihiganti.

Nagpumiglas si Angela hanggang sa makita ang tattoo niya na may mga pangalan. Ang pagpunit sa kanyang damit ay sumisimbolo sa pagyurak ng kanyang dangal.

Huling eksena na pinapanood sa amin ay ang paghihiganti ni Angela sa utak ng panggagahasa sa kanya ginampanan ito ng yumaong batikang aktor Johnny Delgado. Sa bandang huli ay isinuko ni Angela ang baril sa karakter na ginagampanan ni Raoul Aragon matapos mapatay ang karakter ni Johnny Delgado. Closing credits/CBB na makikita ang "People of the Philippines vs. Angela Del Mar".

Nagwagi ng Best Picture sa Nantes Film Festival ang pelikulang "ANGELA MARKADO"'. Ito ay pangalawa sa prestihiyosong film festival sa France.

Sa katapusan ng pelikula, mapapansin na sumuko si Angela sa batas. Masasabing hindi pa rin siya full-blown na femme fatale.

Ayon kay G. De Ocampo, laking gulat niya ng mapanood niya ang kasunod na pelikulang aming tatalakayin na may elemento ng pagka-film noir at may femme fatale

Kasunod na ipinakita ang ilang eksena sa pelikulang ANG BABAENG HUMAYO.

Unang ipinakita ang eksenang nagpapanggap si Horatia (Charo Santos) na debotong Katoliko na naka-belo. Nagmamatyag siya sa kanyang balak paghigantihang tauhan (Michael De Mesa).

Kasunod na eksena ang pagbili niya ng baril.

Sinundan ito ng eksena kung saan nag-eensayo siya sa pagbaril kay Rodrigo Trinidad. Makikitang nahihirapan at nagdadalawang-isip si Horatia hanggang sa siya ay mapamura at itinutok ang baril bilang pag-eensayo sa pagpatay niya sa kalaban.

Huling eksenang pinalabas ang pag-uusap ni Horatia at Hollanda.

Ipinaliwanag ni G. De Ocampo na maaaring maituring na neo-noir ANG BABAENG HUMAYO subalit (spoiler alert!)... tuklasin nyo na lang.

Dito na niya hinayaan kaming magtanong kaugnay sa femme fatale.

Nagtanong ang isang literature student kung meron na bang "trans fatale" dahil na rin sa ay! (spoiler alert!).

(Pwede rin siguro "gay fatale")

Sagot ni G. De Ocampo, "Wala pa at ikaw ang nagbigay ng bagong tawag sa karakter na ganito. Bigyan ka dapat ng credit. Palakpakan natin siya."

Pinalakpakan namin siya habang natatawa. Kwela kasi si sir Nick.

"Oh, ano? Masaya ka na dahil pinalakpakan ka namin? Magaling ka na? Ikaw na!"

Malakas uli ang aming tawanan.

Nagtanong naman ang isa sa mga estudyante niya kung meron na bang babaeng direktor na gumawa ng film noir mapa-Hollywood o local.

Nabanggit ni sir Nick na maaaring maituring na film noir ang pelikulang SALOME na pinagbibidahan ng batikang aktres na si Gina Alajar mula sa panulat ni Ricardo "Ricky" Lee at direksyon ni Laurice Guillen. Wala sa mga dumalo ang nakapanood ng pelikula maski ako.

Kaya isang malaking tanong kung nakalikha na ba talaga ng film noir at femme fatale ang industriya ng pelikulang Pilipino.

Sa pag-assess ni sir Nick De Ocampo wala pang nagagawang film noir at femme fatale ang pelikulang Pilipino dahil sa hesitation at tentative na isip at pagsasaalang-alang na bahagi pa rin ng pagiging relihiyoso na isang katangian ng Pilipino ang makakapigil sa paggawa ng mapangahas na karakter sa isang pelikulang Pilipino.

Saka maaari ring dumaan pa ito sa strict guidelines ng Catholic Mass Media o iba pang ahensya.

Maraming Salamat UP Cinema na buksan sa publiko ang ganitong film forum.

Kailan kaya ulit may free film forum si sir Nick? Gusto ko mapuntahan. Paano pa kaya sa script writing workshops nya? Kwela at kalog kasi siya.

(Credits to the owner sa picture)