In the Name of Love (2011, Olivia Lamasan)

Aga Muhlach. Angel Locsin.

With huge stars like that, film buffs naturally expect Star Cinema to bring in its top people for the project. Olivia Lamasan is an award-winning director and scriptwriter. Enrico Santos has been a script and creative consultant for dozens of Star Cinema blockbusters. Both filmmakers have been semi-regular fixtures of the committee that has molded the slick, dazzling, but trite Star Cinema stories loved (and hated) by viewers for years. I enter the movie theater expecting to be treated to the same old cinematic formula but with a tinge of hope for something out of the box. Lamasan and Santos in tandem? This film must be…

Different. That’s what struck me in the initial, nerve-wracking minutes of the film. A Pinoy hosto named Garry Fernandez (Aga Muhlach) gets the jitters while queuing at the immigration checkout in a Japanese airport. The tense situation makes the viewer imagine all possible misdeeds of Garry. Is he holding a fake passport? Or maybe a luggage filled with drugs? The recent news about a Filipina hoodwinked into using a drug-filled luggage plus the suave direction and editing makes the viewer on the edge of his seat. A thorough search of Garry’s luggage reveals wads of dollar bills. He undergoes a humiliating strip search and ultimately languishes behind bars. And, then the film cuts to a Seven Years Later still. It was a great start for the movie although the arrest inexplicably reminds me of James Bond’s arrest in North Korea in Die Another Day. Same blocking? I need to watch the Bond film again.

Meanwhile, Garry has a brief reunion with his son, who is set to fly to New Zealand along with his new father. Garry decides to open a dance studio because he can’t get a decent, nice-paying job due to his criminal record. His first client is a sexy, sultry lady named Mercedes Fernandez (Angel Locsin). The film then flashes back to the past to reveal the star-crossed love affair between Garry and Mercedes.

Flashbacks are well utilized by the filmmakers. They add enthralling, important layers to the story of a passionate romance. In the name of love, the couple, Garry and Cedes, do stupid things and sometimes, heroic deeds.

Garry, in a tear-drenched monologue, castigates Cedes for leaving him after his incarceration. The first few seconds of the monologue were tolerable but then it become somewhat of an eternity of wailing. My mind was churning out thought bubbles at a fast rate. Gago ka pala, eh! Ikaw ang umako sa kalokohan ng girlfriend mo tapos ngangawa-ngawa ka diyan.

Cedes has a startling revelation as well. She says ‘Mahal kita’ or something like that. Thought bubbles begin forming again. And, as if on cue, what I was thinking coincided with what Garry is blurting out: ‘Mahal? Iba ang katabi mo sa kama…Tapos, mahal?’ Any viewer can relate to it by coming up with dialogues such as ‘Iba ang kasayaw mo… Tapos, mahal?’ or ‘Iba ang kasama mo sa FB profile pic mo… Tapos, mahal?’

The film is clearly made to induce strong reactions from the viewers. While Aga Muhlach was overly-directed in his monologue, slick editing helped Angel Locsin shone through in the ‘mahal kita’ scene. The flashbacks showing the pain and hurts borne by Cedes makes her more sympathetic to the viewers. Totoo pala! Minahal at minamahal ni Cedes si Garry.

The flashbacks show how Cedes took extreme steps to help liberate Garry. She sold her body to politicians and people with enough influence to pull strings for Garry's release. Lamasan and Santos had me hooked completely after those flashbacks. I became one of the viewers wishing for a happy ending for Cedes.

The movie reminds us to hear the side of people who in our opinion deeply hurt us by their disappearance, absence, or lack of communication. What seems to be a despicable deed may in fact be a worthy sacrifice done in the name of love. So before you judge other people, make sure to at least get their side.

The notable film have several flaws such as the idiocy of the assassination plan and the awkward action fight scene atop a factory platform. I can't fathom why the masterminds will allow the assassination to take place during a dance number between Cedes and her beau. It is dangerous as the target keeps moving. And, why would the assassin place himself in an awkward position with obstacles hindering his view? Lamasan is still not adept in plotting action scenes. The escape of Garry is made possible by crafting clumsy goons.

There seems to be a bit of cheating during a flashback scene. I am referring to the initial meeting of Garry and Cedes in Japan. Cedes correctly guesses Garry's name through an embroidered towel curled up in Garry's shoulder. When did Emman Toledo originally assume Garry's persona? There's a runaround that flaw by having Garry as stage name of Emman in Japan.

Isn't it odd that with all the hurts and pain inflicted on the characters, we don't hear a single person say 'I'm sorry'? Not from Garry, Cedes, or Emily. The filmmakers seem to take their cue on the tagline of Love Story: Love means never having to say you're sorry. They even appropriated the film's theme. The dance montage set to the theme song with lyrics is not effective.

Despite the inept action scenes, corny theme song, and unmemorable dance scenes, the film is a nice farewell present for Aga Muhlach, who is leaving Channel 2 and Star Cinema. He may no longer be young (as Garry says 'Matanda na ako') but he still shows what it takes to be one of the best actors of his generation. He allows himself to be deglamorized with shots showing him with a potbelly and enduring a strip-search.

Angel Locsin does a wonderful, excellent take on a difficult character, Cedes. That she was able to make me root for her character shows Locsin's growth as a fine actress.

With this film, Lamasan and Santos clearly shows why they are Star Cinema's top script/creative consultants. It is hard to get an audience to empathize with movie characters but they did it with flourish. This film may end up as one of the best mainstream movies of the year.

Sana Maulit Muli (1995, Olivia Lamasan)

25 years ago, three films about Overseas Filipino Workers fought it out for the top plum at the 19th Gawad Urian. Two films, Bagong Bayani and The Flor Contemplacion Story, dealt with the case of a Filipina domestic servant sentenced to death in Singapore. I haven’t seen both films although reviews suggest that they are really deserving of their Best Picture nominations. The third film Sana Maulit Muli may or may not have benefitted from split votes for the Contemplacion films but viewed on its own it is a worthy Best Picture winner.

Director Olivia Lamasan collaborated with two other scriptwriters on the award-winning script. The plight of illegal aliens working in the United States of America (USA) and the difficulty of maintaining a long distance romance were effectively shown in the film.

Immigrant Agnes Sarmiento (Lea Salonga) is having a hard time adjusting to life in the USA. She misses her boyfriend, Jerry Morales (Aga Muhlach), a big-shot advertising executive in the Philippines. The two struggle to keep their relationship afloat despite being thousands of miles away from each other.

Agnes’ early days in San Francisco, California, are extremely tough on her. She struggles to fit in with her mother’s new family. A simple errand takes her nearly the whole day to fulfill because she can't properly read a map. To make matters worse, her desperate calls to her boyfriend end up in futility. She can't seem to catch her ever-busy boyfriend, Jerry. The film shows how hard it was for couples to be worlds apart during the mid-1990s. There was no Twitter and FB back then that can instantly hook up the pair. Internet social networks were still years away and the founders of Twitter and FB were still in their teens and early twenties. Making phone calls is the way couples communicate. Sending letters via post office is an inexpensive albeit non-real time alternative.

Agnes eventually gets tired of making expensive overseas calls. Slowly, she tries to forget Jerry. Agnes takes on the job of a caregiver. A Filipina friend, Karen, guides and shows her the ropes to being successful in the USA. Agnes becomes more assertive and eventually nabs a job with a realty company. She rises from the ranks to become a top realtor. Her boss is so smitten with her lovely face and good character that he proposes to her. Agnes rejects it because she realizes that she still loves Jerry.

The jerk of a boyfriend, Jerry, wakes up from his stupor. He gets to fly to the USA because of a work-related seminar. He decides to stay as a TNT (illegal alien) and tries to revive his sagging relationship with Agnes. He takes on different odd jobs such as selling second-hand cars and working in a restaurant.

First-hand encounters of abuses against illegal aliens become a big issue for Jerry. He contemplates returning to the Philippines. His decision is made easier by Agnes’ closeness to her boss. He goes back to the Philippines alone and heart-broken.

I loved the open-ended finale of the film. Agnes returns to the Philippines and meets up with Jerry. The romantic viewers may see it as a happy reunion for the two former lovers. On the other hand, career-oriented viewers may look upon Agnes’ return as just a vacation for the hardworking lady. Lamasan said she and her fellow colleagues had a hard time thinking of an ending for the film. It took them months before settling on the finale.

One more thing I adored with the film was the inclusion of the song Walang Hanggang Paalam. The film shows Joey Ayala playing the song in a bar filled with Filipinos. The classic indie song talks about a couple’s love growing strong despite the distance separating the lovers. This love ultimately serves to bring out the full potential in the other person. Agnes blossomed into a powerful executive.

Lea Salonga floundered in the early part of the film but made up for it with a solid performance in the latter part. She wasn't effective playing a wimpy girl. She was better essaying the role of Agnes as a strong, cosmopolitan lady. Aga Muhlach won a second Gawad Urian for his vivid portrayal of an executive bruised by his experiences as a TNT in the land of honey. Muhlach was not overly-directed in his scenes. It is a good thing that Lamasan was not big then on having her actors cry. Nowadays, Star Cinema films have male characters crying their hearts out. Lamasan teams up once more with Muhlach in the 2011 film In the Name of Love. Will Lamasan make Muhlach’s character cry?

In My Life (2009, Olivia Lamasan)

Vilma Santos chose this as her comeback film in lieu of Raya Martin's Independencia. The latter film is among the best films released so far this year, while In My Life will soon be forgotten after the media hype whimpers down.

The blurbs boldly scream... Passionate scene of John Lloyd Cruz and Luis Manzano! Acting showdown between Cruz and Vilma!! 16th Anniversary Presentation of Star Cinema!!!

The prolific production company should have selected a better story for the triumvirate of Vilma, Cruz, and Manzano. The movie starts with Noel Villanueva (John Lloyd Cruz) worrying about the impending visit of his lover's mother. Shirley Templo (Vilma Santos) is a cranky librarian and former physical education teacher, who belatedly visits her birth country, the United States of America. She hesitantly goes to New York City to stay with her son, Mark Salvacion (Luis Manzano). She learns soon enough that Mark is living in with Noel.

The film shows New York City as a place where everyone is free to choose his/her lover, regardless of looks, race, and sexual orientation. The non-Filipino actors were surprisingly good. They really seem to be residents. Heck, they probably are city residents. However, I'm bothered with the film's depiction of the city's dark side. It shows an African-American harassing Shirley.

Luis Manzano has a memorable scene with his mom, Vilma. The picnic scene shows Mark with Shirley. They have a one-on-one talk about how Shirley began to distance herself from Mark because of his sexuality. Manzano was so gay-ingly good in this scene. He did not portray Mark as the swishy type but is still convincing as a homosexual. Manzano will figure in another memorable and well-directed scene. Nope, it is not the passionate scene but the one involving him and his preoccupation with his cellphone.

The much-hyped passionate scene is a dud. If you blink, then you will probably miss it. The beautiful shot before the kissing scene is the one that should have been talked about. We see Noel hugging Mark while a tear drop rolls down his cheek. Now, that is a passionate person who is very much in love!

There are directing and script flaws that bother me. The travelogue scenes diminish the impact of the fish-out-of-the-water concept. The initial scenes give the impression that Shirley is very much adapted to the city. Also, Shirley is not a bumbling moron. She is an educated person and a librarian at that. The wacky scenes are completely out of line.

The film seems to be about how a mother comes to grips with her homophobia. Well, it turns out, that she is not only distant to her son but also to her two daughters. She is not homophobic. She is plainly a bad mother. How she ended up being a bad mother was not tackled at all. The film was so caught up with other topics such as marriage for convenience, and gay couples that it forgot the major topic.

Director Olivia Lamasan wasn't able to repeat her magic in Sana Maulit Muli. Her latest film is an acting showcase for Manzano and Cruz. Sadly, it is hampered by a cluttered story. There are better films released out there. Showing at indieSine is Jerrold Tarog's technically-competent Mangatyanan. And, there's the magnificent Independencia, which will have its last screening at the UP Cine Adarna on Saturday (September 19) at 1:00 pm. See the excellent movie that Vilma rejected as her comeback film.

Photo from Star Cinema