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Post by WeLoveJen on Jan 9, 2011 10:06:20 GMT 8
saan ang alin? hahah ang review? kapag nega sa PM kapag hindi dito na lang. hahaha. may ganon.
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Post by canada92 on Jan 9, 2011 10:07:26 GMT 8
para pong hindi pa enough ung hindi na nga po mabilang kung gaano na kadaming reviews ang nabasa ko online. hahahaha!!! hanggang ngayon nga po hindi pa din ako maka-get over dun sa review ng CBCP po ba yun? grabe...pwede din pala dumugo ang ilong sa grabeng tagalog. hahahaha!!! ![:P](//storage.proboards.com/forum/images/smiley/tongue.png)
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Post by canada92 on Jan 9, 2011 10:08:24 GMT 8
saan ang alin? hahah ang review? kapag nega sa PM kapag hindi dito na lang. hahaha. may ganon. ahahaha!!! ganun na nga lang po. ![:P](//storage.proboards.com/forum/images/smiley/tongue.png)
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Post by WeLoveJen on Jan 9, 2011 10:13:48 GMT 8
3 hrs? haha Sabagay sulit na sulit kung ganon. Sayang naman yung mga di naisama kaya dapat lang ipakita din nila yon. may nabasa po ako eh, na may balak daw na ipalabas sa march ung rosario pero director's cut na. para daw mas lalo maintindihan ng viewers si Rosario. bale mga 3 and a half hours daw yata. ah... ang haba. hehe
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Post by WeLoveJen on Jan 9, 2011 10:16:45 GMT 8
para pong hindi pa enough ung hindi na nga po mabilang kung gaano na kadaming reviews ang nabasa ko online. hahahaha!!! hanggang ngayon nga po hindi pa din ako maka-get over dun sa review ng CBCP po ba yun? grabe...pwede din pala dumugo ang ilong sa grabeng tagalog. hahahaha!!! ![:P](//storage.proboards.com/forum/images/smiley/tongue.png) ah yung sa mga pari. hehehe. Dami nga reviews ng rosario, halo halo...sa tabloid dati may nabasa ako inokray acting ni Jen pero yung sa iba naman maganda.
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Post by canada92 on Jan 9, 2011 10:28:46 GMT 8
nabasa mo po ito? grabeng nosebleed ang inabot ko sa tagalog...hahaha!!!
CAST: Jennylyn Mercado, Dennis Trillo (Alberto), Isabel Oli (Carmen) Sid Lucero (carding), Yul Servo (Vicente), Philip Salvador (don enrique), Eula Valdez (dona adela); Dolphy (Hesus). DIRECTOR: Alberto P. Martinez. PRODUCER: TV5 and Cinemabuhay. STORY: Manny Pangilinan.
Technical Assessment: 3.5 Moral Assessment: 3 CINEMA Rating: R 18
Taong 1920, darating mula sa Nuweba York and kaakit-akit na dalagang si Rosario (Jennylyn Mercado) upang magbakasyon sa kanilang hacienda. Dahil sa lubhang makabago niyang mga gawi, madali siyang lulutang sa mga pagtitipon, bagay na kanyang ikagagalak ngunit ikababahala naman ng kanyang amang si Don Enrique (Philip Salvador). Mapusok si Rosario at hindi itatago ang kanyang nasa kay Vicente (Yul Servo), katiwala ng kanyang ama sa kanilang pataniman ng tabako na mapapa-ibig naman ng dalaga. Hindi maglalaon, matutuklasan ni Don Enrique ang bawal na pag-ibig, palalayasin ang binugbog na binata at ikukulong sa kumbento si Rosario. Makakatakas naman si Rosario at magtataanan sila ni Vicente patungong Maynila. Sapagkat mahusay sa gawain at masipag si Vicente, giginhawa naman ang buhay nila at ng kanilang anak sa Maynila ngunit magkakasakit si Vicente ng tuberkulosis at titigil ito sa trabaho, bagay na magiging dahilan upang si Rosario ay maghanap ng trabaho. Papatol si Rosario sa masugid niyang mangliligaw na makikilala niya sa kanyang pinapasukang opisina, si Alberto (Dennis Trillo). Mahuhuli ni Vicente ang kapalaluan ng dalawa, at ihahabla nito ang asawa at ang kanyang kalaguyo sa hukuman. Mapapatunayang nagkasala si Rosario’t si Alberto at hahatulang itapon sa Hongkong kung saan iluluwal ni Rosario ang anak na lalaking si Hesus. Pagbabalik ng mag-anak sa Pilipinas, lalayasan naman ni Alberto ang mag-ina sa paghihinalang nakikiapid si Rosario kay Carding (Sid Lucero), pamangkin ng may-ari ng bahay na kanilang tinutuluyan. Titiisin ni Rosario ang hirap ng buhay, tatanggap ng labada at palantsahin upang maitaguyod ang anak, ngunit sadyang magiging malupit sa mag-ina ang tadhana.
Ang Rosario ay base sa tunay na pangyayari ayon sa Producer nitong si Manny Pangilinan, at isinagawa naman sa pelikula sa pagdidirihe ng kilalang aktor na si Albert Martinez bilang kanyang unang proyekto bilang direktor. Ang paglalahad ng kuwento ng karanasan ni Rosario ay nagmumula sa pananaw ng kanyang anak na si Hesus (Dolphy), na siyang magbubukas at magsasara ng pelikula. Hindi lamang ginastusan kundi pinaghirapan ding sadya ang Rosario, at ito’y mababakas sa maayos na pagsasalarawan ng panahong 1920.
Hindi madaling gumawa ng period movie pagkat mahirap maghanap ng mga elementong bubuo ng mga production sets upang higit na maging tapat sa panahon at kapani-paniwala ang pelikula. Marahil madaling tumahi ng mga costumes o damit para magmukhang “unang panahon” ang pelikula; gayon din sa make-up at ayos ng buhok, pati na ng mga ekstra, basta’t masusing sinaliksik ito at hindi ginawang tantiya-tantiya o hula-hula lamang. Subali’t ang paghahanap ng mga bahay, pier at barkong luma, halimbawa, ay kailangang pagpawisan; tulad din ng pag-iipon ng sapat na mga sasakyang sinauna na magagara pa at tumatakbo nang maayos upang ipakita ang karangyaan ng buhay-hacienda ng dalagang si Rosario. Ang mumunting mga bagay na ito ay may kani-kanyang ambag tungo sa ikabubuo at ikagaganda ng pelikula. Para madala ng pelikula ang manunood sa nakaraan, hindi siya dapat makasulyap man lang ng kahit anong makabago o magpapaalala sa kanya sa kasalukuyan. (May nasilip ba kayong kotseng Toyota, o plantsang de-koryente, o MacDonald’s noong sa Maynila na naninirahan sila Rosario?)
May mga bagay din naman sa Rosario na nakakabawas sa pagiging buo ng pelikula, tulad halimbawa ng labis na liwanag sa mga mukha ng artista magkaminsan na nakakahadlang sa pagkakaroon ng akmang “mood” ng eksena. O kaya’y ang pag-iiba-iba ng hugis ng kilay ng mga babaeng artista—hindi “consistent” ang guhit, ika nga, na nagpapahiwatig na hindi sanay ang make-up artist sa pagpinta ng make-up noong panahong iyon. Dapat sana’y may giya silang larawan ng mukhang gusto nilang palabasin, at tularan iyon hangga’t kinakailangan ang ganoong anyo. Maaari namang pagpikitan na lang ng mata ang mga kapintasang iyon lalo na’t kung susukatin mo ang katapatan ng pagganap ng mga pangunahing aktor.
Mahusay na ginampanan nila Servo, Trillo at Lucero ang kani-kaniyang papel—pinangibabaw nila ang kani-kanyang karakter, kaya’t “buhay” ang mga ito. Sa ma-dramang papel naman ni Rosario ay makikitang nagsisimula nang mamukadkad ang talino sa pag-arte ni Mercado. Bagama’t ang kanyang karakter ay isang babaeng may sariling pag-iisip noong mga panahong hindi ito tanggap ng lipunan, nakuha ni Mercado na manulay sa pagitan ng pagiging malaya at pagiging api. May sapat na karakter ang mukha at kilos ni Mercado upang siya ay maging kapani-paniwala bilang isang biktima man o isang nambibiktima. Hindi namin mapigilang magtaka kung bakit hindi man lamang nakakuha ng nominasyon si Mercado bilang “Best Actress” sa nakaraang Manila Film Festival (MFF) samantalang bukod-tanging Rosario lamang ang pelikulang may napakalaking hamon para sa mga nagsisiganap.
Rosario lamang ang hindi naglalaman ng komedya sa mga pelikulang tampok sa nakaraang MFF; ito’y isang kuwentong hango mula sa tunay na buhay na isinalaysay ng tunay na anak ni Rosario, si Hesus, kay Pangilinan. Ang mga inilahad ng pelikula ay sumasalamin lamang sa mga totoong pangyayari; wasto lamang na hindi sinikap ng direktor o ng pelikula na pangunahan ang manunood na husgahan si Rosario. Sa halip, ipinakikita lamang ng pelikula na ang tadhana na mismo ang siyang humuhusga sa gawain ng tao. Sa sinapit ni Rosario sanhi ng kanyang kapusukan at dala ng kagipitan, maaaring masabing may isang buhay na nasayang, mga pamilyang nawasak, kayamanang tinalikuran, at kinabukasang itinapon. Maganda, matalino at may husay sa pagtugtog ng piano si Rosario, ngunit pinili niya ang pinili niyang buhay. Maihahalintulad si Rosario sa isang maapoy na konsiyertong inihinto sa kalagitnaan ng paglikha, isina-isang tabi, natabunan ng limot, hanggang sa hindi na ito matagpuan—tulad ng mga labi ni Rosario na hindi na rin malaman kung saan dadalawin ng mga naiwan. -Teresa R. Tunay, OCDS
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Post by canada92 on Jan 9, 2011 10:31:32 GMT 8
para pong hindi pa enough ung hindi na nga po mabilang kung gaano na kadaming reviews ang nabasa ko online. hahahaha!!! hanggang ngayon nga po hindi pa din ako maka-get over dun sa review ng CBCP po ba yun? grabe...pwede din pala dumugo ang ilong sa grabeng tagalog. hahahaha!!! ![:P](//storage.proboards.com/forum/images/smiley/tongue.png) ah yung sa mga pari. hehehe. Dami nga reviews ng rosario, halo halo...sa tabloid dati may nabasa ako inokray acting ni Jen pero yung sa iba naman maganda. oo nga po...halo-halo...kapag tabloid po yata, mostly nega lang. pag naman po galing mga broadsheet, thumbs up naman sila sa rosario pati acting ni Jen. tapos pag blogs naman, sa lahat ng nabasa ko po parang lahat naman sila thumbs up din sila sa rosario pati din sa acting ni Jen.
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Post by canada92 on Jan 9, 2011 10:32:47 GMT 8
pasensya na po...nagloko po bigla ung net ko. ;D
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Post by canada92 on Jan 9, 2011 10:37:07 GMT 8
ito ung isa sa mga pinaka-favorite kong review... ;D
Riveting 'Rosario': Melodrama with restraint By KATRINA STUART SANTIAGO
In the course of watching the movie Rosario, it became less and less clear why it didn’t get Best Picture (but only 2nd Best Picture, a category that’s a travesty in itself) at the 36th Metro Manila Film Festival 2010.
I do see where it could have used better direction. At the same time, I wonder how much creative freedom there was since the film’s producer actually appears in the beginning and end of the film, to establish in the most simplistic of ways that this is a true story. I am giving Albert Martinez more credit than that.
Because Dolphy’s character Jesus’ narration was enough, it didn’t need a literal audience in a long-lost nephew aka the movie’s producer, nor the angle of destitution that brought him to the point of writing this nephew a letter. He could have, as a matter of passing on family history, just wanted to speak of the lost members of the clan, the connections that remain missing, the sadness of the silence about his mother Rosario’s life.
Since this is ultimately what this story’s about, a passing on, a passing forward, of one woman’s silenced life from the 1920s to pre-war, from a provincial hacienda to a convent, to Manila, to exile in Hong Kong and back. This is the story of a woman named Rosario, who comes home from America -- Nueva York, as they say in the movie -- and is changed.
Her closest friend Carmen is her counterpoint: she has never tried smoking a cigarette, dresses conservatively, barely wears make-up. The province and the hacienda are also her counterpoint: it is everything that she wants to leave, to study in the State University, she asks her father, who of course refuses. She is to study in America.
Soon enough, things get out of control, and the real story of Rosario unfolds. She falls in love with the manager of the hacienda Vicente and, after much suffering, they find themselves together in Manila, raising a family of three children, the silences on their past in the province deafening. While her husband is sick, Rosario commits adultery with Alberto (Carmen’s former boyfriend) and she is exiled to Hong Kong . She loses custody of her three children with Vicente, but she has a new child to take care of, a new life to forge. Of course this is difficult in itself, reason enough for Alberto to abandon her, and she is broken.
Yet it seems like all of this was only out of control, and at this point broken, in so far as the audience was concerned. But Rosario herself barely speaks about this in the movie, despite the fact that she is its main protagonist. In fact, as she moves from one space to another, one man to another, from her father to the oppressive landlord she is in the end left to contend with, Rosario’s words are far from substantial. Instead she acts on her life, in ways that are telling of her time, of the kind of women we were then. We might not have been speaking a lot, but we sure knew how to deal with hardship.
Unlike other melodramatic protagonists, Rosario deals with her hardships without histrionics.
She takes control of the ritual of courtship with Vicente, as well as the extra-marital affair with Alberto. She is one to feel pleasure and speak of it, she is one to want pleasure and act on it. She is given an offer to pay the rent with her body, and she lets her hair down. She removed the pins that hold her short flapper curls and almost looked like a new woman.
In fact, by the time she does this, Rosario is a different woman altogether. One who has been rejected four times over from her father, to her husband, to her lover, to her grown daughter. At this point as audience, I could only empathize and imagine a major breakdown scene, a moment of kicking and screaming, the kind that our local dramas are riddled with.
But there was none of it. Here was a woman whose life had fallen apart, but who possessed a courage to live that’s about getting up every day, playing the piano when it's there, as if her freedom(s) relied on it. There is an amount of strength in that quiet, in the calm voice, the eyes that were always bright even when they spoke of sadness and happiness, even when they were closed as she played the piano.
There was restraint in Rosario, as there was in the rest of this movie. There were no grand declarations of what life is about, no Church and religiosity to fall back on, no statements on feminism and womanhood. Instead there was Rosario and the various men she dealt with, these versions of men that we know of in this country as archetypes. Instead there was history, and how this woman lived through it given its changes, its poverty, its irrationality. And there was Rosario as woman, without the histrionics, without the self-pity.
Right here are the reasons for a nomination -- at the very least -- for Jennylyn Mercado in the role of Rosario. She would have given Aiai de las Alas a real race for the best actress award, had she been given that chance. MMFF juror Butch Francisco has tried to explain why Jennylyn didn’t deserve a nomination. One, because the role of Rosario required her to be “flirtatious and coquettish" and two, she didn’t even know how to hold a cigarette in her hand.
It’s easy to see now where things might have gone wrong in deliberations for nominations. Rosario’s character was only about flirtation in the beginning of the story; to imagine she needed to be such halfway through would’ve missed the point of her subservience to her evolving roles in the spaces she moved in. As regards the cigarette in her hand, well if only to humor them jurors, I did a Google search of the 1920s woman holding a cigarette. Lo and behold, they were holding that cig in exactly the same way Jennylyn was, not with the air and confidence of the woman in the present, but with the uncertainty of a loose hand and a limp wrist.
Jennylyn Mercado would have given Aiai de las Alas a real race for the best actress award, had she been given that chance
I have a sinking feeling though, that more than the best actress nomination, MMFF failed the film Rosario because it didn’t understand it. Or maybe it was just ready to go for the more simple narrative instead of the historically affected one; the one with in-your-face values that were nothing but conventional instead of the one with deep-seated unexplainable sorrows; the one that was about heart-wrenching family drama instead of the one with real stories of family and the ways in which they break apart in the face of illness and tragedy and history.
Maybe, for all the time and money spent telling us that the Metro Manila Film Festival this year will be different from the past, it has proven to be exactly the same. At least in the past, movies like Baler (2008) and Blue Moon (2005) could win Best Picture. At least in the past, we didn’t expect much from it and we weren’t made to imagine it better or new or different.
MMFF 2010? Such a sign of the times.
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Post by canada92 on Jan 9, 2011 10:42:33 GMT 8
tapos eto din...
Film Review: Rosario Love's many faces By Danton Remoto (The Philippine Star) Updated December 29, 2010 12:00 AM Comments (1)
MANILA, Philippines - I remember those days when one went to the Metro Manila Film Festival to see the likes of Lino Brocka, Ishmael Bernal, Marilou Diaz Abaya, Celso Ad. Castillo, and Mike de Leon compete for the December prizes with their amazing films.
It’s in this spirit that I went to watch the film fest on its first day, and I chose Rosario, the first film offering of CineMabuhay and Studio 5. I was not disappointed.
Duty and love are the twin poles that Rosario (Jennylyn Mercado) had to contend with in 1920s Philippines. Back from studies in New York and stuck in a tobacco hacienda in Isabela, she meets her match in the bright but poor Vicente (Yul Servo), the administrator of their vast estate.
Duty and love are also the twin poles confronting Vicente, who was sent to school by Rosario’s parents. Bright thought he may be, he will always be at the bidding of Rosario’s feudal father (Philip Salvador). The mansion and the opulent dinner, the hectare upon hectare of land are shown. Subtly, these vast wealth is possible because it sits on the backs of the poor, the ragged farm workers — and their children and children’s children — who will be servants of the landowners.
While having dinner with American administrators, the feisty Vicente recites a Spanish poem about a parakeet, this beautiful bird, in its golden cage. The Americans walk out of the dinner table, and Rosario’s estimation of Vicente grows. He lends her a book of poems in Spanish, and in turn she lends him a book of poems in English. Then she asks him, “What is your favorite poem?”
He answers, The Road Not Taken. This now-classic poem by Robert Frost, this poem about taking “the road less travelled by” seals their fates.
For schooled in New York (it must be a music school, but we are not told) and wizened to the ways of the modern world, would Rosario choose a rich but weak man? Would she really settle down to the boring and cloistered life in the vast estate?
But their love is doomed, Vicente is tortured, Rosario is sent to the nunnery. She flees, elopes with Vicente and they leave behind the hacienda, to live in the new world.
It’s a world of work, where people sit behind desks from 8 a.m. to 5 p.m. in an insurance company called Shimon & Schuster Insurance Company (complete with the S & S publishing logo in NY) to receive their just wages and not some entitlement from the harvest of the land. It’s a world of work where women are equal to men, in both their lives, their loves, their lusts.
However, the hardworking Vicente falls ill to the sickness of the times — tuberculosis — and Rosario is seduced by her cousin’s boyfriend (Dennis Trillo). What I love about this film, among others, is the camera. Carlo Mendoza's cinematography shows the candle-like fingers of Rosario caressing the back of her ailing husband while giving him a bath. The camera later shows the car of Dennis stuck in the rain, steaming and steaming. He is wet from the rain, his shirt is unbuttoned, and inside the closed car sits Rosario, torn again between duty and lust.
Sent into destierro (exile) in Hong Kong by the court after they were convicted of adultery, Rosario and Vicente suffer. Because this film is framed by the narration of Rosario’s son, Jesus (Dolphy), the life in Hong Kong is just told. They must have suffered, but how? A shot or two showing us what they did for a living would have convinced us that an insurance salesman and a disinherited woman did indeed suffer in HK.
From hacienda to entresuelo is the distance that Rosario’s life travels. Upon returning to the Philippines, they wander from town to town, in a subtle allusion to the pariahs of society who have to shuttle from place to place, unwanted. They settle in lowlife Manila, with the grasping landlord played with wicked glee by Ricky Davao and his sensitive and kind nephew, Carding (Sid Lucero).
Music binds this film together like a thread. Rosario plays on the piano, painfully showing a refined and sensitive woman like a beautiful bird caged by her fate. Rosario’s daughter and namesake (played by Empress Schuck) is renamed Soledad, and in her solitude the daughter plays Lizst’s Lebenstraum in a concert. If life, indeed, is a dream, Rosario must have surmised, watching her daughter play with such intensity and fire, then why am I caught in this nightmare?
Life is the enemy, the film seems to say, and in the end Rosario had to choose between another love and a life alone. What is the punishment for the sins of lust and love?
Aside from the cinematography and the music, the production design by Joey Luna is faithful to the era — from gramophone to mansion to the office in Binondo. Director Alberto P. Martinez stitched the film together in an almost seamless way.
The ensemble acting is very good: Dolphy, Yul Servo, Chanda Romero, and Dennis Trillo stand out. Jennylyn Mercado has a face perfect for the role, and acquits herself well in her role. Her last scene with Carding (Sid Lucero) alone is worth the price of admission. Look at the eyes of love, the bright and expectant eyes of Carding, the slight movement like a tick in his right jaw, before Rosario turns away, and the blade of sadness descends.
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