Bulaklak sa City Jail (Mario O'Hara)

Angela.

Widely considered as one of Nora Aunor's best films, it's just quite puzzling that Cinema One rarely shows it. Last night, they finally did (at around 11:30 pm). Lucky me, I was still awake and was able to catch it, and indeed, it was a truly powerful film. 

     

Directed by the late great Mario O'Hara, "Bulaklak sa City Jail" is not your usual Filipino melodrama. Instead, it is a dramatic film that is more concerned about the suspense of its revelations rather than the shedding of tears. Based on a story by Lualhati Bautista, the film is a well-weaved, bare it all portrait of the lives of incarcerated women and how they were rendered cruel and more sexually desperate by time. One of them is new inmate Angela (Nora Aunor), a nightclub singer who was arrested because of attempted murder. With her frail personality and small body frame, she's not exactly the one you may visualize when you think of women prisoners.  

    

Moral-wise, she is not the most perfect of characters, but there's something in her that speaks to your soul. Perhaps it is Aunor's eyes, or maybe it is her character's desire to escape and start anew. Whatever it is, Angela fascinates me not because of her purity as a woman but because of the complete opposite; I was drawn to her because of her numerous flaws. Such a character is tailor-made for Nora Aunor, and she has proven her understated power as an actress once more by portraying Angela not as someone who's shallowly righteous but as a woman (and pregnant at that) who just want to set things right. We sympathize with her not just because she is the main character but simply because she deserves it, and we pity her not merely as a movie character but as a tangible human being.

     

With films like "Tatlong Taong Walang Diyos", "Bakit Bughaw ang Langit?" and the more recent "Babae sa Breakwater", the great Mario O'Hara has repeatedly journeyed us through the corners of a woman's heart both in the context of love and society. But in "Bulaklak sa City Jail", motherhood has been the main focus. On one side, we have Luna (Celia Rodriguez), a woman who prostitutes herself inside the prison just so she can financially support her son. On the other, we have Viring (Perla Bautista), a woman who lost her sanity when her child was taken away from her. There's also Juliet (Gina Alajar), a young woman who desires escape so that she can be with her son again and also take revenge on those (specifically her husband and his lover) who took advantage of her incarceration. 

     

In these scarred images of motherhood, we are given the temporal freedom in deciding which of them will ultimately mirror Angela's fate as a mother when she finally delivers her child. It's a question that subtly runs throughout the film, and in one of the most powerfully intense sequences in all of Philippine cinema, we see how Angela takes sanctuary inside a literal lion's den (in Manila Zoo, while being chased by policemen) where she has ironically delivered her child in peace. With that, O'Hara and Bautista seem to suggest something awfully pessimistic: that we have been too socially cruel for our own good that the only safe place to bring a child into this world is in the primitive presence of inept animals. Yes I know, that may have been too negative a cinematic statement, but that's not exactly invalid either. 

     

Now plot-wise, the intensity of that particular sequence wouldn't have been that successful if not for the careful pacing (and a musical score that's reminiscent of "Psycho"). With a great narrative development that can only be attributed to delicate writing and directing, O'Hara has built and staged the film like a suspenseful novel. And although I do not like how the film has ended in much the same way I hated how "Hinugot sa Langit" was concluded, I do not necessarily disagree with it. Perhaps the film has brooded too much in its entirety that a happy ending seems out of place. But hell, Angela deserves it, and amid all the moral filth, it's a refreshing sight to behold.

FINAL RATING

Tinimbang Ka Ngunit Kulang (Lino Brocka)

Anguish.

Living in the modern Filipino film culture, one can't easily delve oneself deeper into it without even hearing about the film "Tinimbang Ka Ngunit Kulang" and marvel about how heavily metaphoric the title really is. And then, with an unconscious compulsion, you then become curious. What is the film really all about? I, for one, initially thought that this film, although undoubtedly one of the finer Filipino films, isn't clearly one of the all-time greats. That's me and my unflinching idiocy. I then rewatched it with the aforementioned question rerunning in my mind, and then some. And just like that, I was in utter awe.

"Tinimbang Ka Ngunit Kulang" may widely be considered as Lino Brocka's seminal masterpiece, but somewhere within the corners of my mind where "Maynila: Sa Mga Kuko ng Liwanag", "Bona" and this film are on a continual struggle for subjective supremacy, it might just be his best work.

Contrary to Brocka's trademark ambient sounds-enhanced, raw visuals-enforced neorealisitic approach to contemporary Filipino squalor that has been ever prevalent in his later films such as "Insiang", "Tinimbang Ka Ngunit Kulang" boasts of a powerful human drama set within the hypocritical social and religious milieu of a seemingly quiet rural town.

Part coming-of-age film and part cinematic indignation of inhuman judgments, the film succeeded to disturb, touch and shake viewers all at the same time with its potent ability to deliver both an encompassing social commentary and an observant exploration of an adolescent's moral journey from debilitating indifference to something mirroring righteous courage and humanity.

The teenager, named Junior, played by then-rookie actor Christopher De Leon (who won a FAMAS for his performance in the film) who surprisingly handled the role like a seasoned veteran, is caught at an early crossroad; in this existential standstill, he can't seem to find his own path. Should he follow his father's successful yet women's perfume-laden path (a serial womanizer, that is)? Must he pursue a romantic, but ultimately hollow and immature commitment, or does he have the fiber to embrace the lives of two sideshow social outcasts whose deeply felt relationship overpowers their physical and mental shortcomings?

In some ways, just as how Brocka applied it to his later film "Jaguar", "Tinimbang Ka Ngunit Kulang" is a film that deals with crucial choices. Even with the dream-like opening sequence alone which, in a very hallucinatory way, portrayed the emotional nightmare of an abortion, both in its procedure, the aftermath (this powerful scene prophetically answers some of the questions that were raised in the 1985 film "Hinugot sa Langit) and the psychological effect once the choice regarding it was finally made, though in the film's case, a one-sided one at that (Lolita Rodriguez's Kuala seems unwilling).

Today, mentioning the name Lolita Rodriguez is like unveiling a dignified marble statue of a true Filipino cinematic icon, and for that kind of automatic pop culture thinking, suffice it to say that it was duly in part of her legendary performance in this film as the town lunatic, Kuala. It's one of the best performances in all of Filipino cinema, and her detailed conveyance of staggering facial expressions and uncanny gestures brilliantly merged and crisscrossed both the overly animated movements of a dirty mental case and the uncommon emotional depths of a woman who just suffered too much and is begging, by way of her soul creeping silently through her eyes, for all of it to end.

Mario O'Hara's role as Berto the leper is just as tricky to pull off. Listening to some of his lines, the character may easily drift into one-dimensional nobility, but O'Hara kept it all together quite consistently and has able to display the visceral goodness of a man who has nothing left to lose but just enough time to love. Eddie Garcia also shined in his role as Junior's father, Cesar, a role he so conveniently and effortlessly played that the very polygamous core of the said character has since been iterated quite heftily in his action film roles (the 'Manoy' persona).

One of Brocka's real, unequaled strengths is his great execution of endings. The one here in "Tinimbang Ka Ngunit Kulang" is a great example. Playing with the facial expressions of both the extras and the chief actors while still maintaining the emotional strain of the ending's dramatic center, the film, although can easily be branded as a communal tragedy, is still hopeful despite of its wounded premises. And as Junior emerges from Kuala and Berto's hut, carrying a symbolic purity that is a product of two individuals that were subjected to inhumanity, there's a feeling of solitary safety, and at last an emphasis, as Junior looks upon the people's guilty faces, of what was really weighed and found terribly wanting: the town itself.

FINAL RATING

Tatlong Taong Walang Diyos (Mario O'Hara)

Chance.

Not so long ago, I finally came into a certain understanding that Filipino films will always be inclined into 'melodrama': The sappy music, intense displays of physical animation to accompany the drama, and of course, tears. It's a nauseating phenomenon in the Philippine movie industry when absolutely done the wrong way. But thank god there are films such as "Tatlong Taong Walang Diyos" to serve as timeless testaments to the magic that 'melodrama' can create and manifest within one's senses and emotions, from simple to complex, when done perfectly.

The film started with Hitler's rhyming, mouth-foaming speech regarding the strength of his socialist party. Being set in the times of the Second World War, the film unveils like how a history text book would for a student. But after this run-of-the-mill introduction, its story unfolds like how a poet affects to even the farthest of souls.

In plain sight, the film may look like your typical 'love caught by the tides of war' and a period vehicle for its star and producer, Nora Aunor. Granted, the love story arc is already established prior to the complications of the narrative, but I am deeply surprised and pleasured how complex the film really was.

At various points, "Tatlong Taong Walang Diyos" can be viewed as a metaphor for the ravages and ruins that the Philippines (The idea of the motherland may allude to Nora Aunor's (subtly powerful, as always) character Rosario and her initial abuse in the hands of Masugi, played by Christopher De Leon) have experienced during the Japanese Occupation and, on the opposite end, the potentially unconscious development of the Philippines' slow embrace towards the Japanese ways (how Rosario learned to love Masugi after she has been raped).

And pushing it further, Bembol Roco's character Crispin is the physical manifestation of the concept of a true 'Filipino' who, despite of the predicament that his real love (Rosario) has gone through, remained completely absent and consumed by fighting an abstract notion towards an illusory, national deliverance. The film may also relate to a slightly satiric approach to some Filipinos' extreme devotion to the perpetually clean-cut view of America and their intervention.

Mario O'Hara, a primed director and a memorable actor by his own right due to his performance in Brocka's "Tinimbang ka ngunit kulang", created this film with a certain honesty and a hint for something new. He dared not to mold a war film with old clays of sentiments and melancholy. He instead established a fresh foundation to the film, making the complexity of love and the ambiguity of Catholicism its true center and added up the hypnotically repugnant, yet may have been quite accurate, emotional weather of the time.

"Tatlong Taong Walang Diyos" never settled for a one-sided rally behind patriotism's usual sweet myth-making; director Mario O'Hara treated the Filipino people (that includes the Guerrillas) not as hopeful revolutionaries that can almost dwell on the pages of a legend, but as a confused crowd dipped into a mudflow of fever and hysteria: looking for even the slightest mistakes, violently ditching even the slightest idea of a socially unsanctioned love, and pointing fingers to even the slightest of flaws.

Nora's Rosario, on the other hand, served as their martyr; their miniature 'Joan of Arc' to make up for the futility of their distorted search for something meaningful. A senseless pervasion of mobocracy masquerading as a push for Philippines' well-being and disguised as a search for national identity.

The film covered so much, yet it came out as a simple tragedy of love. Deep analysis or surface viewing, either way, "Tatlong Taong Walang Diyos" is still a tremendous work of Philippine cinema. Where is film preservation when it's needed most? This film begs for a better print. Too bad it's too late.

FINAL RATING