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Ang Larawan

Ang Larawan emphasizes that pursuing a political or commercial profession is anything just like abandoning one’s artistic endeavors to lead a more comfortable life. The dominant message of the story is the upholding of Filipino culture on the verge of war where everything appears to be less important than survival. 

Ang Larawan was initially set at the time when the city of Intramuros in Manila was preparing for the menacing occupation of foreign troops before World War II occured. During one of the moving musical numbers of the movie, Candida and Paula grieved over the death of Filipino ideals and artistic views. Throughout the story, they shared the screen with characters who have traded their craft and creative endeavours in exchange for a more lucrative career in commerce or politics. 

Also, the discussion about the identity of a Filipino as an artist is particularly significant in the establishment of the story. When Bitoy threw a controversial question to Candida after she briefly discussed the history of her father’s artwork: If it is a portrait of a Filipino artist, then why is it that the inspiration of the painting has a Western origin? Don Lorenzo could have painted about any aspect of the Filipino culture since the apparent object of the story is to promote the identity of Filipino art, but he chose to use a piece about Greek myth to deliver his curious message. The only way to grasp with the seeming inconsistency is to accept the obvious contradiction of the story that even Don Lorenzo, who claims to be a Filipino artist, does not even hold pure blood. He is the representation of the dilemma of Filipino art which is the imbalance of unique identity and foreign influence. It was established in the story that Don Lorenzo is a Filipino painter who dedicated his talent to Western market. In fact, the portrait he gave to his daughters Candida and Paula is the only artwork available for Filipino spectators since all his previous paintings were distributed right across the big cities of Europe. Such a paradox. 

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Life of Pi : Mise-en-Scene

Life of Pi is a marvelous shot film by Ang Lee (2012) that exists somewhere in between the worlds of fantasy and adventure. Adapted from the Yann Mantel novel of the same name, revolves around a young Indian teenager stuck adrift on a raft with a tiger, hyena, orangutan, and zebra. It was considered for years that the film was almost impossible to film. They finally found its bold director in Ang Lee, who decided to shoot digitally and shoot 3D, and the result was a breathtaking combinations of colorful and an amazing visual experience that looked nothing like anything that came before it. With all the creative voices and endeavors, the film summoned the most awards in Oscars in 2012, including Ang Lee for Best Director and Claudio Miranda for Best Cinematography. In this entry, the film is analyzed with filmmaker's use of mise-en-scene. From the auteur’s 4 elements of Mise-en-Scene: Setting & Location, Make-up, Props, and Costumes, Lighting and Color, Character and Figure. Setting & Location  The production of the film was generally built as a constructed location. At the production’s heart was a massive tank of water that was used to produce the ocean-set settings. It was built inside an abandoned airport, the 1.7 million gallon behemoth was the world’s largest self-generating wave tank. Miranda himself had a hand in its construction, he made sure it was built around the lighting needs of his crew. A giant door was even built to allow the actual sunset to light the tank every day at dusk, allowing the indoor ocean to be shot during the magic hour.  he money and effort spent on the tank underlines how important the ocean setting was to Life of Pi. For many shots of the film, the frame would be almost entirely water. As such, Lee decided to shoot the film in 3D, a technology still unproven effective and not as well-respected at the time, back when Avatar had yet to been released and revolutionize the medium. By adding depth to the image, Lee felt the power of the ocean and the subtleties of its movements could be more accurately captured. 

Make-up, Props, and Costumes With all the computer generated shots doing all the magic, the film holds a minimal approach when it comes to Make-up. Although, it instills an authentic establishment with having less is more. Same goes to their costumes, Pi was dressed entirely with only a bandana, paired with white pants and a necklace. It only took few, minimal yet well-thought out ensemble to make the character, Pi an icon and a memorable one. Furthermore, Life of Pi contains a bevy of advanced special effects shots, with a good deal of the movie, including co-protagonist Richard Parker the Tiger, heavily generated by computers. They had the difficult task of photographing much of a film that didn’t exist in reality, yet capturing its epic essence in a way that would match the unbelievable CGI being prepared and as well as capturing its versimilitude. The props itself can be the main standpoint of the film. Much of the likes of Richard Parker the Tiger, it became the limelight and an important innovation to the film. The finesse and the techniques used to create the life-like Richard Parker was beyond impressive. It is indeed another success tribute to films that holds a magnificent machines and robotic creations throwback such as the first ever Jurassic Park (1993) that gagged all the viewers who first witnessed the magic of 3D. Lighting and Color  Because of the prominence of both actual and digitally created water, lighting was especially important to the film. It was also especially difficult to the particulars of the shoot. With huge waves and water moving constantly, any light would reflect and refract in every direction. In a wide flat ocean, with nothing else but the occasional bioluminescent plankton, the sun was the film’s chief source of light. Furthermore, Life of Pi is considered one of the best colored film of all time. The most dominant color of the film was the color of Orange. The color orange symbolizes hope and survival. If we are going to be in particular and details of the scenes, there are several allusions and suggestions using the dominance of the color. Just before the scene in which the Tsimtsum sinks, the narrator describes visiting the adult Pi at his home in Canada and meeting his family. Pi’s daughter, Usha, carries an orange cat. This moment assures the reader that the end of the story, if not happy, will not be a complete tragedy, since Pi is guaranteed to survive the catastrophe and father children of his own. The little orange cat recalls the big orange cat, Richard Parker, who helps Pi survive during his 227days at sea. As the Tsimtsum (the name of the ship) sinks, Chinese crewmen gave Pi a lifejacket with an orange whistle; on the boat, he finds an orange lifebuoy. The whistle, buoy, and tiger all help Pi survive, just as Orange Juice the orangutan provides a measure of emotional support that helps the boy maintain hope in the face of horrific tragedy.

Character and Figure.  Life of Pi establishes many characters and figure with its own interpretation and symbolism all throughout the film. For an instance, the main protagonist, Pi or also known as Piscine, denotes an irrational mathematical number, used to calculate distance in a circle. Often shortened to 3.14, Pi has so many decimal places that the human mind can’t accurately comprehend it, just as the book argues, some realities are too difficult to face. These representations establish the character Pi as more than just a realistic protagonist; he also is an allegorical figure with multiple layers of symbolism. Another main character to film would be Richard Parker the tiger. With a name like Richard Parker, most probably wouldn’t be expecting a tiger. The character known as Richard Parker is actually a Bengal tiger, trapped aboard the main character, Pi's, small lifeboat. There is significance to Richard Parker throughout the tale.There is much symbolism surrounding faith in the story. We learn fairly early on with this quote, 'I have a story that will make you believe in God,' that spirituality is going to play a strong role throughout the story. Richard Parker, himself, may be symbolic of God or faith. We discover throughout the story that Pi both loves and fears the tiger. Let's be honest: how realistic is it to be trapped on a small lifeboat in the middle of the ocean with a tiger and not be turned into a food? Pretty hard to believe, but for many who are religious, there is both a love and a fear, or reverence, of God. There are actually more than meets the eye and a lot more to unlock about the film’s symbolism and representations. 

By combining both the magic and science of the movies, a depth of each elements of the film, from the settings, props, and characters itself, filmmakers behind Life of Pi manage to make fantasy come to life.

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Carmen y Lola

Carmen y Lola (Carmen and Lola) is a recent Spanish drama film by Arantxa Echevarria. The film features a combination of sensational self-discovery and its restraints within a repressive culture. Echevarria’s feature film captures a rigid setting of a community and moments wherein raw volatile emotions can be found. For the most part, Carmen y Lola is another spirited force to the gay culture genre

In this entry, there are two tracks I will discuss. First is an identification and discussion of values in the Spanish film, secondly, the representation of women and gays in the film.

The film opens with two beautiful young women who lives in a gypsy community, come into a conflict with the conservatism and patriarchal-ism of Madrid when they fall in love. Carmen, like every other woman in her community, is set to live a life that is repeated generation after generation: getting married and raising as many children as possible, and most of all being able to fully serve to their husband. But one day, she meets Lola, an unusual gypsy girl who dreams about getting out of the cycle of their generational plans and to live a different life. Carmen quickly develops complicity with Lola as  they discover a world that, inevitably, leads them to be a complete outcast to their community and also being rejected by their families.

Carmen y Lola (Carmen and Lola) is a recent Spanish drama film by Arantxa Echevarria. The film features a combination of sensational self-discovery and its restraints within a repressive culture. Echevarria’s feature film captures a rigid setting of a community and moments wherein raw volatile emotions can be found. For the most part, Carmen y Lola is another spirited force to the gay culture genre

In this entry, I will be discussing a specific track and perspective for this film: The Identification and Discussion of Values in the Spanish film. (What We Hold Dear)

The film opens with two beautiful young women who lives in a gypsy community, come into a conflict with the conservatism and patriarchalism of Madrid when they fall in love. Carmen, like every other woman in her community, is set to live a life that is repeated generation after generation: getting married and raising as many children as possible, and most of all being able to fully serve to their husband. But one day, she meets lola, an unusual gypsy girl who dreams about getting out of the cycle of their generational plans and to live a different life. Carmen quickly develops complicity with Lola as  they discover a world that, inevitably, leads them to be a complete outcast to their community and also being rejected by their families.

In the first part of the film, important establishing points are present. Carmen, who dreamt in the very first scenario, in her bed with her wedding dress on as their family and friends downstairs flamboyantly chants the celebration of the bride, and right after then, she woke up, seemingly undisturbed. As part of their tradition and generational plan, their world works as if women are set off to be merely a housewife. Nothing more and nothing less. This already indicates that they live in a patriarchal community. As simple as it is, women should fully submit themselves for their husbands. Meanwhile, Lola in the other hand, also has the same ground to start off. Both are living in a close-knit, and extremely conservative family. In a scene where Lola’s family is having dinner, Lola is trying to convince his very abrasive Father (Paco) because she wants to attend a school association. In his response, he immediately declines her request and is very suspicious of the outside world, especially with the existence of the whiteys in their community. However, Lola’s Mother (Flor) is favorable on her daughter’s defense to have a better prospects in life and not wanting her to end up like her mother who endured the life of being illiterate and making-ends-meet. This particular scene yet points out another characteristic of a patriarchal community. The Father in this setting is the one who always dominates and is always the “right” one. For as long as there is “food on the table”, her Father does not understand why Lola might desire anything other than to help out on  the family’s market stall.

Carmen is set off to marry Lola’s cousin. Carmen’s Mother is very persistent for her daughter’s engagement. Although, her mother is a wary because of her revolting behavior and leads her mother to think about her inability to be good housewife just like how she was raised to be. Later on, when the family of the groom and bride unites and welcomes the new family, there is a scene where the groom’s Father reassures to the bride’s Father claims that his son is born with high morals and is a good depiction of a husband and vice versa. Clearly, this particular transaction shows that the marriage plan itself is more important than what truly matters on Carmen and her-to-be husband. Their family does not value the importance of freedom.

On the latter part of the film, both Lola and Carmen’s family are starting to get more suspicious of the actions of the two lovers. As Lola and Carmen finally proclaims their true feelings for each others. Things were not falling into place after their decision to be together. With Carmen admitting to her husband that she wants to leave him for good but she was furiously declined by her husband as his response. Indicating that no matter what happens, she will not leave his dominion over her. While Lola is trying her best to escape her miserable restraints from his father by spray painting on walls and attending school more often. In the midst of the sweet escape from both Lola and Carmen as they chastely presented love affair of hand-holding and kissing in deserted stairwells and drained swimming pools ensues. At one point they got caught by one of their neighbor, Maria, and immediately started to spread the news swiftly. With this repressive community, this also indicates that whatever immoral actions are present within the vicinity of the community, expect the news to spread quickly. Gossiping and and elderly woman are being represented in this particular scene.

At the point where they got caught red-handed, Lola’s father bursted out furiously and forcefully drags Lola to bring her to church and cure her abomination for being a homosexual. This also signifies that the community they lived in are heavily religious and believes that being in love with another fellow men and women are works of the devil. Inevitably, Lola was left with nothing and is now an outcast in her community. All she has left is Carmen and her close friend Pacqui who sent them in her safe haven.

The following are photos of me attending the premiere @Greenbelt3 Makati

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GOYO: Ang Batang Heneral

Yet another Philippine historical epic film starring the ever so striking and swooning visage of no other than Paulo Avelino. It chronicled the critically and commercially successful 2015 film Heneral Luna. GOYO proves as another achievement to the industry of Philippine cinema as I personally consider as some of the best ever produced. As part of the thousand critiquing audiences, I give great commend to the overall production of the film. Film director Jerrold Tarog did not fail to impress my expectation after his recent success on Heneral Luna. My rating for this film would be 4 out of 5, considering the film as masterfully done and somehow farcically made.

Few days ago after watching the film, my mind resorted with common emotions and conclusions. By the end of the film, I found myself shaking my head, eyes shut. My positive and hopeful emanation just vanished as I went out of the cinema. It was rather frustrating and draining to watch. It reminded me of how Filipinos are right now. A bitter reminder of how we suffered the same consequences. The way we perceive heroism differs from one to another. There will always be a fine line between “making a difference” and “doing the right thing”. We are blinded somehow with empty words and false pretense of heroic acts, and we still are. It all made sense to me. Thus, I came up with different points and conclusions from the film.

FIRST: I realized that GOYO is a total eclipse of the film Heneral Luna.

An interesting transition from the epic tale of bravery and genuine passion contrasted to a shallow, self-absorbed, and indecisive figure. Jerrold Tarog seems like he wants us to take the film and use it as an instrument of juxtaposition. A determining factor and reassessment to all has been done by our former and late heroes of the past. Some are recognizable and well known. Some are unnamed and unknown.

SECOND: I thought Goyo was nothing but pretentious and a self-absorbed individual. I never really adored him.

It’s almost sad that many of our so called heroes are. They are vain. Their ego is what drives and motivates them. Some are facile, biased, or even incompetent. In fact, many of them use women as their sole motivation and priority. Not just one, but maybe countless of them. It’s called womanizer.

THIRD: The most frustrating part is knowing that the ones who have pure and genuine intentions are the weak and powerless.

Doing heroic acts will never be only valid through your position in society. Your rank, your placement, or whatever class you fall under. Simply, not all heroes wear capes. Joven for instance, I share the same sentiments as he went through the crisis of war. How he is unable to rightfully serve for the country and stand his ground to what he is fighting for. Nevertheless, even if he could not do much, he still tried his best to help and fought for the right thing.

CONCLUSION: I recommend everyone to watch GOYO as I hope this film will serve as a wakeup call, a warning to all of us on how we should determine good leadership and how we define heroism.