DUKIT: Pag-uukit ng pagkatao na hinubog ng panahon

Tatlong taon na ang nakalipas ng mapanood ko ang pelikulang "Dukit". Hindi ko pa rin ito makalimutan. Umukit ito sa aking isipan na isa sa mga magagandang pelikulang Pilipino ng dekada.

Mula sa panulat at direksyon ng batikang manunulat na si Armando Lao katuwang si Honey Alipio.

Ang pelikulang Dukit ay tungkol sa buhay ni Willy Layug. Isa siyang tanyag na mang-uukit. Ang pelikula ay nahahati sa ilang bahagi ng kanyang buhay mula sa pagkabata, pagiging ama, pagsisimula at pagiging ganap na mang-uukit ni G. Layug at ang gawaran siya ng parangal o patrolling Presidential Merit Awardee for Ecclesiastical Art.

Ipinakita sa pelikula na bantog si Ginoong Willy Layug sa kanyang likha lalong lalo na sa pag-uukit ng mga santo.

Sa kabilang banda, ang mga santong ito ay sumisimbolo sa ispiritwal na aspeto.

Habang tinatangkilik ng kanyang mga parokyanong relihiyoso o deboto ang kanyang mga inuukit, nariyan ang bahagi ng kanyang nakaraang hindi niya mapatawad.

Tulad ng proseso ng pag-uukit ay sumasalamin rin ito sa kanyang buhay.Tulad sa pag-uukit, hinubog ng panahon  si G. Willy Layug. Hinubog ang kanyang pagkatao sa mga karanasan at mga tao sa kanyang buhay.

Malaki ang naging epekto ng relasyon niya sa kanyang ama. Ito ang nakaapekto sa pananaw niya sa buhay. Naging masalimuot ang pagtanggap niya sa pangyayari na lumaking walang ama sa kanyang tabi.

Dito kumunekta ang kuwento ng  pelikula sa mga manonood. Magkaiba man kami ng kuwento ng buhay ni G. Layug pero naka-relate ako sa kanya. (Hindi ko na idedetalye pa kung paano ako naka-relate dahil personal na iyon.)

Hindi man inuudyok o nais ng pelikula ang emosyonal na aspeto ay may mga bahaging emosyonal ito na hindi makikita sa melodrama.

Hindi rin kumbensyonal ang pelikula. Gumamit ito ng non-linear narrative. Ginamit ang mga flashback upang lalong maintindihan ang mga bahagi ng buhay ni G. Layug na hindi alam ng ibang tao.

Pagpapatawad o forgiveness ang nangingibabaw na mensahe pelikulang ito. Makatotohanan ang paglalarawan kung paano magpatawad ang mga kalalakihan sa pelikula.

Mahusay na nagampanan ng mga aktor ang kanilang mga karakter tulad nila Bor Ocampo, Mark Joseph Griswold, Bambalito Lacap, Raquel Villavicencio at kahit mismo si G. Willy Layug. Mahusay ang pagkakasulat ng iskrip at direksyon ni Armando Lao. Maihahanay ito sa kanyang obra tulad ng Itanong Mo Sa Buwan at Tuhog.

Tunay ngang ang talento ng isang Pilipino tulad ng pag-uukit ay maipagmamalaki. Subalit, mas nakakamanghang malaman ang buhay ng isang mang-uulit tulad ni G. Willy Layug.

THE HIDING PLACE: A true story of indomitable human spirit and forgiveness despite resentful experiences

Different popular war movies regarding World War II and Holocaust are created to know history. There are lots of titles. Schindler's List, The Pianist and Come and See come to mind. These three movies join the list to name a few.

There is another exceptional war movie that captures humanity in times of peril. It's "The Hiding Place".

The Hiding Place is a produced by Billy Graham Evangelical Association under their film production divisional wing World Wide Pictures. The film is based on the autobiographical book of the same name by Corrie Ten Boom. The film is a real-life account of the Ten Booms experience as they help the Jews to escape the Nazi. It has given a limited release.

The story begins as Nazi invade Holland in 1940. Papa Casper Ten Boom (Arthur O' Connell) is a watch repairer. Her two spinster middle-aged daughters,  Corrie (Jeanette Clift) and Betsy (Julie Harris), live with him. They live a quiet life. However, Jews are arrested by the Nazis even in Netherlands. The Ten Boom family are Christians. Their hearts are moved with the Jews situation. A part of their home is specially built by the members of Dutch Resistance. After prayerful consideration, the Ten Booms decide to open their home to Jews. They hide them as they seek refuge from the Gestapo. Even though their Dutch heritage is considered Gentiles, they risk their lives for the Jews. "Remember, it is the Jews who gave us the Bible and our Savior.", as Papa Casper tells them

They also learn that hiding Jews are not easy. They encounter different personalities and characters of Jews refugee. There's one Jewish man who is hard to deal with but the Ten Booms remain patient.

On February 28, 1994, the Nazis discover that the Ten Booms are helping the Jews by hiding them. Corrie and her entire family alongside with their friends are arrested after a Dutch collaborator pretended to be a Jew who needs a refuge for his family and betrayed them.

Fortunately, the hidden Jews are able to escape. The family suffers as they face hardships. The Nazis send Corrie and her sister Betsy to a concentration camp in Germany for hiding Jews in their house. Their father, Casper, dies before he reaches the concentration camp. The two sisters are forced to work. They are also given not enough food.

One time, a Nazi lady guarding women work is not satisfied with Betsy. She hit her hard. Corrie wants to get even with the Nazi lady but Betsy always reminds her not to be resentful. Corrie and Betsy encourage one another. Corrie is almost losing faith in their situation but her sister always motivates her even though others mock them in the camp because of their faith.

Betsy's weak health fails and she dies afterwards.

On December 1944, Corrie is surprised that she is considered to leave the camp. Later on, it is discovered that a clerical error happened. Her fellow prisoners left in the camp are put in the gas chambers the following month.

At the film's epilogue, an elderly Corrie Ten Boom concludes, "No pit is so deep that He is not deeper still."

This film also depicts the horrors of war. It includes few violent moments such as disturbing beatings and other inhumane treatments that happen in the camp.

The movie is slow-paced and somewhat dragging at the first thirty minutes. Though, it manages to let the audience feel the tension specially when Ten Booms are discovered hiding Jews. This motion picture will let you feel heavy because of what happened to the characters.

In a situation where love and forgiveness must be shown, Corrie and Betsy never fails to do it. Corrie somewhat entertains negative thoughts but her sister Betsy reminds her the love of Jesus and His forgiveness. Corrie learns to forgive and finds strength by relying on Jesus.

Newcomer Jeanette Cliff is excellent as the strong-willed Corrie. Five-time Tony Awards winning actress Julie Harris is magnificent as the weakling but strong in spirit Betsy. Academy Award winner Best Supporting Actress Eileen Heckart is not to be ignored as the world hardened woman due to circumstances but retains her humanity.

This movie is must see. Don't miss it.

WORLD WIDE WEB OF CRITICISM

Oktubre 21 ng dumalo ako sa World Wide Web of Criticism tungkol sa film criticism. Ito ay ginanap sa QCX Theater sa Quezon City Circle.

Marami akong natutunan at na-obserbahan sa film forum na ito.

Bahagi ng QCinema, ang event na ito. Nakakatuwang isipin na sa pamamagitan ng film forum na ito ay nakakapag-reach out ang mga taong nasa industriya ng pelikula.

Moderator si G. Lilet Reyes. Isa siyang scriptwriter.

Naimbitahan ang mga tanyag na film critics tulad nila Don Jaucian ng pelikula.tumblr.com na ngayon ay editor-in-chief ng CNN Philippines Life, Richard Bolisay na isang guro at kritiko rin ng mga pelikula sa lilokpelikula.wordpress.com, Michael Edillor na admin ng Philippine Cinema Online Forum (PCOF) at Philbert Dy na film critic sa clickthecity.com. Naroon din ang producer na si Bianca Balbuena.

Ibinahagi at ikinuwento ng mga panauhin ang kanilang karanasan sa pagsusulat tungkol sa pelikula. Kung paano sila nagsimula sa pagkahilig sa panonood ng mga pelikula at gumawa ng mga entries sa kanya-kanyang blog hanggang sa makakuha ng imbitasyon na makapagsalita tungkol sa pelikula, ang isa ay naging trabaho na niya ang maging film critic, ang isa naman ay naging bahagi na ng malaking broadcasting company at ang isa naman ay nakilala na din sa industriya ng pelikula.

Si Don Jaucian ay nakapagtapos ng kursong nursing ngunit sa pagkahilig sa panonood ng pelikula ay binuo ang pelikula.tumblr.com. Ayon sa kanya, matagal na niyang gustong maging manunulat. Napansin niya na habang gumagawa ng blog ang mga naglalabasang top 10 best film of the year.  Bihira ito para sa pelikulang Pilipino. Napansin ko din ito. Kahit pa may nakagawa na ng libro tungkol sa 100 Acclaimed Filipino movies ay madalang kang makakita ng top 10 best Filipino movies of the year pwera na lamang kung gumawa ng listahan ang Manunuri ng Pelikulang Pilipino ng sampung pinakamahusay na pelikula ng dekada. Kaya lumikha siya sa blog niya ng top 10 best Filipino films of the year. Hanggang sa siya ay naimbitahan sa iba't ibang larangan ng pagsusulat. Aminadong hindi na niya nagamit pa ang kursong natapos ngunit maligaya siya sa kanyang tinahak na karera. Kasalukuyan ay editor-in-chief siya ng CNN Philippines Life.

Si Richard Bolisay ay isang guro sa sikat na pamantasan dito sa Pilipinas. Mahilig din siyang manood ng pelikula kaya naisipan niyang magsulat base sa kanyang obserbasyon sa panonood ng pelikula. Siya ang nasa likod ng blog na lilokpelikula.wordpress.com

Si Philbert Dy, tulad ng dalawang nabanggit, ay nagsimula rin sa film criticism sa pagsusulat ng blog base sa obserbasyon nya sa panonood ng mga pelikula at nakahiligang panonood ng mga pelikula. Hanggang sa naisipan niyang lumapit sa clickthecity.com upang bigyang suhestiyon na magkaroon ng film reviews ang website sapagkat nagbibigay sila ng mga screening schedules sa mga pelikula sa sinehan dito sa Pilipinas. Pumayag naman ang nabanggit na website kaya ito ang kanyang naging propesyon.

Si Michael Edillor ay Canadian-based na cinephile. Ayon sa kanya, nagkaroon siya ng kamalayan sa pelikulang Pilipino ng siya ay mapunta sa Canada. Wala siyang matagpuang sources ng mga pelikulang Pilipino. Naisipan niyang lumikha ng mga blogs tungkol sa film history ng Pilipinas, insights, criticism at reviews sa pamamagitan ng social media network na facebook. Hanggang sa maisip niyang buuin ang Philippine Cinema Online Forum.

Si Lilet Reyes naman ay scriptwriter ng pelikula. Kahit iba ang kinuha niyang kurso noong kolehiyo ay ipinagpatuloy niya ang kanyang pagkahilig sa pelikula ng siya ay maging manunulat ng mga dulang pampelikula.

Si Bianca Balbuena ay kilalang producer ng mga mainstream independent films tulad ng That Thing Called Tadhana at Hele sa Hiwagang Hapis.

Bukas sa publiko ang event na ito kaya mga mag-aaral ang nakita ko. Mga grade 9 students ng Pugad Lawin National High School ang inanyayahan  ng lokal na pamahalaan ng Quezon City na dumalo sa film forum na ito kasama ang kanilang guro sa asignaturang Journalism. Dumalo rin ang ilang estudyante ng Communication Arts ng Miriam College. Meron din mangilan ngilan na young adult at adults na interesado.

Napansin ko na hindi masyadong nagpaparticipate at hindi ganoong ka-interesado ang mga estudyante. Hindi rin sila maka-relate sa usapan. Tunay ngang mahirap na mag-reach out sa mga millenials. Nang tanungin tungkol sa pelikulang Barcelona: A Love Untold (na hindi ko pa napanood), Kathniel vs. Jadine, doon na napukaw ang atensyon ng mga estudyante.

Kahit ng tanungin ang mga estudyante at dalawang guro ay mainstream na pamagat ng mga pelikula ang naibigay ng tanungin kung anong pelikula ang gusto at ayaw nila.

Karamihan talaga ng alam ng mga masa ay mainstream na pelikula. Pelikulang gawa ng mga kilalang entertainment production company sa Pilipinas. Sa ngayon, patuloy ang pamamayagpag ng mga sikat na local film companies lalo pa sa mga romantic drama at rom com movies. Hindi naman natin masisi ang mga masa dahil sa kakulangan ng promotion sa mga independent films.

Maaaring sabihing kinakain tayo ng sistema na tanggapin ang mga ganitong kaisipan tulad ng mga nakikita at nababasa natin sa social media. Ang mga pelikulang mainstream ay may layunin na hayaan tayong tumakas panandalian sa mga kinalulugmukan nating mga isyu sa buhay. Kumbaga escapism. Nililibang tayo. Yan ang inilalatag sa atin ng mga rom com, comedies (slapstick man o sarcastic o sitcom), horror, thriller o drama na formulaic na. Ika nga business as usual. Ito ay negosyo na kailangan pagkakitaan. Kadalasan ay mapapansing compromised ang quality tulad ng aesthetic at artistic values na  nilagyan ng moral. (ano to?)

Sabi nga ng isang kilalang opisyal ng isang tanyag na network sa isang interview nya, "independent films should understand that mainstream needs profit."

Ginagawa naman lahat ng mga independent filmmakers upang maipaabot ang kanilang mensahe sa kanilang pelikula. Nariyan ang pumupunta sila sa mga sikat na pamantasan. Minsan, dumadayo din sila sa mga pampublikong paaralan. Sa independent films nakikita ang mga aesthetic, artistic at malikhaing pamamaraan ng paglalahad ng kuwento.

Ngunit, nagkaroon na rin ng konting kontrobersya ito dahil sa kaliwa't kanang poverty porn at mga soft core porn (daw) to excuse ang for the sake of art. Na kesyo necessary (daw) ang full frontal, pumping scene at iba pa. (Ano na naman to?)

Ano kaya ang pwedeng makapukaw sa curiousity ng millenials  na pinakamadaling ma-bore at mas nakukuha ang atensyon ng mga selfie lord, social media, DOTA, LOL at NBA? (Huh?)

Going back, marami rin akong natutunan. Kulang pa rin ang aking kaalaman tungkol sa film criticism. Kailangan pala na may sarili ka ring pananaw at insights sa iyong napanood. Hindi lang basta obserbasyon lamang. Gagawa ka rin ng pananaliksik ukol sa ilang aspeto at elemento ng pelikula. Higit sa lahat, ano ang nakuha mo sa panonood at bakit ito dapat panoorin ng iba.

Bigla kong naalala ang mga tips at pieces of advice sa akin ni Michael na admin ng PCOF dahil sa kasisimula ko pa lang ay dapat mas galingan ko pagdating sa film criticism. At tulad nga sa sinasabi ng mga kritikong ito kung nais namin mapalawak ang aming kaalaman sa pagsusulat sa pelikula kailangan pa namin manood ng iba't ibang klase ng pelikula at magbasa rin ng mga libro.

Sabi ni G. Bolisay, ang isa sa kahulugan ng salitang "passion" mula sa Latin ay "suffering" o "pagdurusa". Kaakibat nga ng pangarap halimbawa sa pagsusulat ang pagdurusa.

"Magdusa Ka!", sabi ni Nida Blanca sa pelikula na may katulad na pamagat.

Bigla ko tuloy naalala ang isa pang film critic na si Oggs Cruz. Siya ang guest speaker noong nakaraang Abril 2 sa UP CAST Kape't Pelikula kung saan ibinahagi niya ang kanyang karanasan at nalalaman tungkol sa pelikula. Naroon din si Bianca Balbuena na nagbigay ng kanyang nalalaman at karanasan bilang producer.

Sa panahon na kahit may mga limited run ang mga indie films sa mga film festival at ang presyo ng ticket ay pwede ng ipangkain ng isang mahirap na pamilya. Paano magiging interesado ang mga manonood na marami ng balakid sa kanilang atensyon?

At bilang manonood, dapat rin ay bukas at imulat ang ating isipan sa iba't ibang konsepto.

Salamat QCinema sa pagkakataong makadalo sa inyong film forum.

(Nasaan na ang mga kinuha n'yong pictures namin? Calling the attention ng mga organizers ng QCinema film forums)

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)

K to 12: Is it K?

My nephew asked me to do an essay (or speech. Whatever he calls it) regarding K to 12. Just want to share:

Last May 15 of 2013, former President Benigno "Noynoy" Aquino III approved the Basic Enhanced Education Act of 2013 into law.  All public and private elementary and high schools implemented the K to 12 program after the former president agreed upon it.

The K to 12 program starts from Kindergarten to 12 years of basic  education (six years of primary education, four years of Junior High School and two years of Senior High School). Compare to the old system of 10 years in school from Kindergarten, Elementary to High School. Then, college for four years.

Philippines is also the last country in Asia to adapt with the new curriculum. With the exemption now that Philippines is having the K to 12 program, Angola and Djibouti are the only remaining countries to have the 10 year old traditional system. Before, Philippines is included to that.

This new curriculum became debatable especially here in the Philippines because our country is considered a third world country. Many parents reacted because another two years meant additional sacrifices for their children as well as financial support.

Is it really worth it?

Even I, asked that question. As a student, I want to attain the best education system the government has to offer.

So far, I could say that I'm enjoying my youth as I now enjoy the new curriculum of K to 12. As a son, my obligation is to study hard and give my best so that my parents will see their hard work. I believe that my parents want the best for me. It's not easy to raise a kid like me. It's not also easy for my parents to strive hard for my education. On my part, it's difficult to undergo the process of K to 12.

As Malcolm X says, "Education is our passport to the future. For tomorrow belongs to the people who prepare for it today." And as the old saying goes, "no pain, no gain". Whatever the government's education system. Is it still up to us if we will learn lessons in our class room or not. Later on, apply all theoritical aspects as well as demonstrate all the learnings we achieved.