Subtitled "A Pinoy Mano Po", Joel Lamangan shares the first of his two MMFF entries when he directed Bahay Kubo. With a handful of his mixture of old and new actors, the casting makes the visible story of the unconventional family of seven children, six of which were "adopted" though not literally (some were left by real parents at the door step, some "handed over"). Veterans Gloria Romero and Maricel Soriano with Eugene Domingo and Eric Quizon star this drama.
The strongest points of this movie come in as its story and acting. Not much cinematography to boast of. Music was also used in minimum.
A notable performance would have to be Eugene Domingo's** rendition of Maricel's best friend and second guardian to the seven siblings. She tells the whole country what comedy means. With or without her killer one-liners and punches, one look from her is enough to make you weak with laughter. Her role as a loony aunt and friend emphasizes her comic character even more.
It must be the experience, or it must be pure talent. Whatever the source, Maricel* shows her timeless ability to make a story into a movie. The moments where she wanted you to laugh, you'd laugh. When she wanted you to cry, a tear jerks right out, on the spot. A great actress indeed (I loved her acting in 2007's "A Love Story").
Once awarded Best Child Actor from the film Magnifico and recently starring in the indie film Tambolista, now young teenager Jiro Manio did not disappoint my expectations from him. With no doubt nor hold-backs, I believe that he is the most talented actor of the seven children casted. His character was easily related to, a transition of puberty to necessity-forced maturity: from the Lola's boy to the brother who protects his sisters, Jiro did all but blow this flick off. I just love that kid. I'm sure he'd become one of the Pinoy tomorrow's most talented.
Yasmien Kurdi and Eric Quizon? One word for both: Okay.
...
Okay... Okay... I'm too mean.
I'll change my one word to "Good" instead. Happy?
Marian Rivera and Shaina Magdayao weren't best actress stuff in this piece, but they were pretty successful in conveying the picture of two elder sisters: one jealous of the attention the other effortlessly receives, and one just being a responsible daughter. At least their characters got together in peace after all the shouting, sabunutan and sampalan. (loved those parts. in reverse order as how stated.)
Applause is given for Lamangan's efforts in showcasing the Filipino ways of life, as in how Gloria had a 'favorite' grandchild, to the close family ties which prevail in the end. Also appreciated are his takes on reality: that people, granted opportunities to be bearers of greater wealth, can change, and that mothers have the most special kind of love ever.
The first parts were undeniably enjoyable to watch. It was just obvious (?) that as the movie neared its ending, the pace of the story was progressing a bit faster than necessary. They could have sped the start a bit up so that the ending could appear better, less jam-packed-up.
*Maricel Soriano won Best Actress
**Eugene Domingo was hailed Best Supporting Actress
(both successfully won over their respective awards from last year's winners Judy Ann Santos and Gina Pareno, an accomplishment considering the fact that the two latter star in fellow-MMFF entry this year, SSS, sequel to KKK of MMFF last year where they won these awards.)
P.S..:
to ANY one who has watched the film, if able, kindly explain the most-end part (the uhh, production-dance-and-song-number part). Why was it there? Is its existence necessary? Does it imply a meaning which I am duly incapable of understanding? Or were there excess fundings on set that they decided to add that scene to launder the money?
P.P.S..:
For the super cool script and its minor flaws, Bahay Kubo is a four for me.
**claps Lamangan and the outstanding actors**
The strongest points of this movie come in as its story and acting. Not much cinematography to boast of. Music was also used in minimum.
A notable performance would have to be Eugene Domingo's** rendition of Maricel's best friend and second guardian to the seven siblings. She tells the whole country what comedy means. With or without her killer one-liners and punches, one look from her is enough to make you weak with laughter. Her role as a loony aunt and friend emphasizes her comic character even more.
It must be the experience, or it must be pure talent. Whatever the source, Maricel* shows her timeless ability to make a story into a movie. The moments where she wanted you to laugh, you'd laugh. When she wanted you to cry, a tear jerks right out, on the spot. A great actress indeed (I loved her acting in 2007's "A Love Story").
Once awarded Best Child Actor from the film Magnifico and recently starring in the indie film Tambolista, now young teenager Jiro Manio did not disappoint my expectations from him. With no doubt nor hold-backs, I believe that he is the most talented actor of the seven children casted. His character was easily related to, a transition of puberty to necessity-forced maturity: from the Lola's boy to the brother who protects his sisters, Jiro did all but blow this flick off. I just love that kid. I'm sure he'd become one of the Pinoy tomorrow's most talented.
Yasmien Kurdi and Eric Quizon? One word for both: Okay.
...
Okay... Okay... I'm too mean.
I'll change my one word to "Good" instead. Happy?
Marian Rivera and Shaina Magdayao weren't best actress stuff in this piece, but they were pretty successful in conveying the picture of two elder sisters: one jealous of the attention the other effortlessly receives, and one just being a responsible daughter. At least their characters got together in peace after all the shouting, sabunutan and sampalan. (loved those parts. in reverse order as how stated.)
Applause is given for Lamangan's efforts in showcasing the Filipino ways of life, as in how Gloria had a 'favorite' grandchild, to the close family ties which prevail in the end. Also appreciated are his takes on reality: that people, granted opportunities to be bearers of greater wealth, can change, and that mothers have the most special kind of love ever.
The first parts were undeniably enjoyable to watch. It was just obvious (?) that as the movie neared its ending, the pace of the story was progressing a bit faster than necessary. They could have sped the start a bit up so that the ending could appear better, less jam-packed-up.
*Maricel Soriano won Best Actress
**Eugene Domingo was hailed Best Supporting Actress
(both successfully won over their respective awards from last year's winners Judy Ann Santos and Gina Pareno, an accomplishment considering the fact that the two latter star in fellow-MMFF entry this year, SSS, sequel to KKK of MMFF last year where they won these awards.)
P.S..:
to ANY one who has watched the film, if able, kindly explain the most-end part (the uhh, production-dance-and-song-number part). Why was it there? Is its existence necessary? Does it imply a meaning which I am duly incapable of understanding? Or were there excess fundings on set that they decided to add that scene to launder the money?
P.P.S..:
For the super cool script and its minor flaws, Bahay Kubo is a four for me.
**claps Lamangan and the outstanding actors**
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