Post by canada92 on Jan 9, 2011 11:51:35 GMT 8
eto pa pala...
PEP REVIEW: Rosario's tragic life produces modern cinema gem
Bong Godinez
The rich history of the Philippines makes it an ideal source for epic film projects. There is enough material to stir the creative interest of producers, scriptwriters, and directors.
Unfortunately, the prevailing mindset and longstanding trend in the local moviemaking inhibits production outfits from taking a risk on historical films.
This is understandable considering the big bucks needed to produce an ambitious project plus the time and effort needed to complete a film. Most of the time the investment fails to translate into revenues once the movie is exhibited in theaters.
This is where Rosario comes in—Studio 5 and Cinemabuhay's entry in the 36th Metro Manila Film Festival.
Director Albert Martinez said that research for the film took five years to complete.
The movie, which is based on the life story of businessman Manuel "Manny" Pangilinan's grandmother, is set in the 1920s. The production team had to go back in time and meticulously piece together the details to effectively paint the story of a woman whose outlook in life contradicted her social milieu.
Jennylyn Mercado's acting in this movie boldly highlights her growth as a true actress. Her ability to convey emotions and feelings on camera without resorting to sigawan and sampalan elevates her to a level far from that of her young contemporaries.
The first StarStruck Ultimate Female Survivor shifts with ease from being an aristocratic young lady from New York, to a modest housewife stripped of affluence, to an exiled adulterer and deprived single mother yearning for redemption.
After watching the film, it is easy to see why Jennylyn is favored to bag the Best Actress trophy in the MMFF Awards Night on December 26, as her performance in Rosario truly deserves recognition.
Equally deserving of the praise are Jennylyn's leading men in the film: Yul Servo, Dennis Trillo, and Sid Lucero.
Yul's performance as a working-class man named Vicente shows the tender yet patriarchal views of men, which continues to be practiced by households today despite the increasing role of women in modern society.
Dennis Trillo's portrayal of the irresponsible Alberto will earn the ire and contempt of viewers, although one may also feel compelled to question Rosario's moral judgment and thus put much of the blame on her for allowing a young man to ruin her marriage out of lust.
Sid Lucero's Carding role, on the other hand, is endearing and heartbreaking at the same time. Carding's entry into Rosario's life is ill-timed, since all the hardships and failures endured by the protagonist have made her jaded about love and its meaning.
Carding's idealistic view of romance is simply no match to a weary heart hardened by lost chances and mounting regrets.
The performances displayed by Isabel Oli, Phillip Salvador, Eula Valdes, Rita Avila, Liza Lorena, Chanda Romero, and Comedy King Dolphy are all impressive as well.
Special mention should be given to Ricky Davao since his convincing portrayal of a deceiving landlord provides the film with a climactic ending.
The film set during the 1920s and the modern era also stars Ara Mina, Tonton Gutierrez, Ronaldo Valdez, Lito Pimentel, Jaime Fabregas, Lester Lansang, Desiree del Valle, Lloyd Samartino, Ron Morales, Precious Lara Quigaman, Jamie Rivera, Miki Hahn, Dino Gueverra, Liezl Martinez, and Bing Loyzaga.
Rosario perfectly blends credible acting of the actors with stunning production values. This makes it an epic film worth watching even for years to come.
The success of Rosario is made possible by painstaking research and keen attention to details: two essential elements needed to produce an ideal period film.
It is also worth noting that Rosario is not a love story. It talks about love, yes, but in a broader scope that covers society, politics, religion, culture, and morals—providing modern viewers a peek into the lifestyle and customs of our elders.
The movie is said to allow Mr. Pangilinan's grandmother to belatedly ask forgiveness for all of her transgressions.
And while viewers may have divided opinions on Rosario's values and impulsive life decisions, the film serves as a reminder that all of us, at least once in our lifetime, are victims of our own tragedies.
PEP REVIEW: Rosario's tragic life produces modern cinema gem
Bong Godinez
The rich history of the Philippines makes it an ideal source for epic film projects. There is enough material to stir the creative interest of producers, scriptwriters, and directors.
Unfortunately, the prevailing mindset and longstanding trend in the local moviemaking inhibits production outfits from taking a risk on historical films.
This is understandable considering the big bucks needed to produce an ambitious project plus the time and effort needed to complete a film. Most of the time the investment fails to translate into revenues once the movie is exhibited in theaters.
This is where Rosario comes in—Studio 5 and Cinemabuhay's entry in the 36th Metro Manila Film Festival.
Director Albert Martinez said that research for the film took five years to complete.
The movie, which is based on the life story of businessman Manuel "Manny" Pangilinan's grandmother, is set in the 1920s. The production team had to go back in time and meticulously piece together the details to effectively paint the story of a woman whose outlook in life contradicted her social milieu.
Jennylyn Mercado's acting in this movie boldly highlights her growth as a true actress. Her ability to convey emotions and feelings on camera without resorting to sigawan and sampalan elevates her to a level far from that of her young contemporaries.
The first StarStruck Ultimate Female Survivor shifts with ease from being an aristocratic young lady from New York, to a modest housewife stripped of affluence, to an exiled adulterer and deprived single mother yearning for redemption.
After watching the film, it is easy to see why Jennylyn is favored to bag the Best Actress trophy in the MMFF Awards Night on December 26, as her performance in Rosario truly deserves recognition.
Equally deserving of the praise are Jennylyn's leading men in the film: Yul Servo, Dennis Trillo, and Sid Lucero.
Yul's performance as a working-class man named Vicente shows the tender yet patriarchal views of men, which continues to be practiced by households today despite the increasing role of women in modern society.
Dennis Trillo's portrayal of the irresponsible Alberto will earn the ire and contempt of viewers, although one may also feel compelled to question Rosario's moral judgment and thus put much of the blame on her for allowing a young man to ruin her marriage out of lust.
Sid Lucero's Carding role, on the other hand, is endearing and heartbreaking at the same time. Carding's entry into Rosario's life is ill-timed, since all the hardships and failures endured by the protagonist have made her jaded about love and its meaning.
Carding's idealistic view of romance is simply no match to a weary heart hardened by lost chances and mounting regrets.
The performances displayed by Isabel Oli, Phillip Salvador, Eula Valdes, Rita Avila, Liza Lorena, Chanda Romero, and Comedy King Dolphy are all impressive as well.
Special mention should be given to Ricky Davao since his convincing portrayal of a deceiving landlord provides the film with a climactic ending.
The film set during the 1920s and the modern era also stars Ara Mina, Tonton Gutierrez, Ronaldo Valdez, Lito Pimentel, Jaime Fabregas, Lester Lansang, Desiree del Valle, Lloyd Samartino, Ron Morales, Precious Lara Quigaman, Jamie Rivera, Miki Hahn, Dino Gueverra, Liezl Martinez, and Bing Loyzaga.
Rosario perfectly blends credible acting of the actors with stunning production values. This makes it an epic film worth watching even for years to come.
The success of Rosario is made possible by painstaking research and keen attention to details: two essential elements needed to produce an ideal period film.
It is also worth noting that Rosario is not a love story. It talks about love, yes, but in a broader scope that covers society, politics, religion, culture, and morals—providing modern viewers a peek into the lifestyle and customs of our elders.
The movie is said to allow Mr. Pangilinan's grandmother to belatedly ask forgiveness for all of her transgressions.
And while viewers may have divided opinions on Rosario's values and impulsive life decisions, the film serves as a reminder that all of us, at least once in our lifetime, are victims of our own tragedies.