Kennethmeanshandsome

"Pusong Mamon," directed by Joel Lamangan and co-directed by its star Eric Quizon (supposedly owing to a heart stroke suffered by Lamangan while directing the love scene between his two lead males, after which Lamangan had to be hospitalized for some period), is a strikingly structured chronicle of gay lifestyles in Filipino setting. With refreshing gay lingo, a gay cinematic texture (Lamangan is after all, one) and a heartwarming performance by lead Lorna Tolentino, the film is handled with crisp sensibility and a romantic playfulness. The only time the film suffers is when the three leads, Tolentino, Eric Quizon and Albert Martinez, break into a song-and-dance routine, an insult to the memory of the Fred Astaire/Ginger Roger/Cyd Charisse/Michael Wilding musical movies. The luscious sceneries seemingly reflect the richness of pathos in the characters, and the stylish cinematography adds a lot. Tolentino, as a woman "accidentally impregnated" by bisexual Martinez, is at the top of her form, funny and gritty. Eric Quizon is hilarious, sincere and the most vivid character of the three, playing Tolentino's rival for Martinez' affections. Albert Martinez is pretty good as the closet type, and how brave of him to agree to a nude scene with Quizon. Outstanding is veteran Caridad Sanchez as Quizon's grandma. Lamangan has directed a romantic comedy with a message about gay lifestyles successfully imparted in a fast-paced yet dazzling manner. Once you ignore the cliches you'll enjoy the sumptuous storytelling.

Established Filipino director Marilou Diaz-Abaya apparently saw lots of promise in Cesar Montano and cast him as her José Rizal; I can think of better actors but otherwise her film is a visually dazzling, well-mounted biography of a Filipino hero. Cesar Montano enthusiastically bites into the quintessential role of José Rizal, with impressive Spanish lines and good affectations. He made Filipino viewers forget his beginnings as a vapid bold actor. 1969 Miss Universe Gloria Diaz is luminous as José Rizal's mom (winning a Best Supporting Actress MMFF award, her first in 29 years), yet her scenes are actually too brief to be considered memorable. Pen Medina, Subas Herrero, Ronnie Lazaro and (MMFF Supporting Actor winner) Jaime Fabregas lend okay support. Gardo Versoza, Tony Mabesa and Joel Torre (usually reliable thespians) are lacklustre here; Versoza's "Andres Bonifacio" is ludicrous. Chin Chin Gutierrez (as the complex character "Josephine Bracken"), acclaimed Broadway actress Monique Wilson (as fictional "Maria Clara") and starlet Mickey Ferriols are totally wasted here. We don't learn anything at all about Bracken, the love interest of Rizal. The effectively moody music of Nonong Buencamino won an award, and I also liked the lavish sets and costumes, starkly beautiful cinematography by Rody Lacap and the stunning visual effects by Mark Ambat. The Ricardo Lee-Jun Lana-Peter Ong Lim script is muddled and lacks a strong dramatic structure (conversations seeming to lead somewhere interesting are left suspended, and questions posed by the characters are never addressed at all) and the novelty of having the real-life José Rizal interact with the lead character of his novel is more confusing than engrossing. The script displays blatant biases, fallacies (a matter of opinion) and a ludicrous "deus ex machina;" it weighs down to actor Montano to carry the film with his insightful delineation of a favorite, if little-understood national hero. Marilou Diaz-Abaya has proven that women directors can come up with substantial gems in filmdom.

***SPOILERS*** ***SPOILERS*** Tito (TONTON GUTIERREZ) is an engineer who can't choose between his young sexy wife Elsie (ARA MINA) and his exotic secretary Susan (SHARMAIN SUAREZ). While the pregnancy of his wife will later force him to resume their love, Tito is initially pressured by Susan to leave Elsie for her. The bombshell is dropped on Tito when Elsie confides SHE will LEAVE him for her cancer-stricken lover, a woman (!) named Alice (RITA AVILA). Elsie's quiet mom (EVA DARREN) finds it hard to accept Elsie's newly-confessed lesbianism, as does the studly Tito, reluctant to share custody of his child with Alice. Meanwhile indignant Susan walks out, observing astutely that Tito loves Elsie more than her. All these triangulations, recriminations and resolutions are witnessed by tomboy Barok (Gina Alajar), Alice's new lover and caretaker. Of course it pains her tha Alice loves Elsie more; of course it pains her that with Elsie's pregnancy, Alice and Elsie will get closer than ever. Jun Lana's story/Bibeth Orteza Siguion-Reyna's script is definitely a captivating narrative. With top-drawer casting (award winners Alajar, Avila, Darren and Gutierrez), Carlitos Siguion-Reyna mines Lana's story with style, heart and social comment. Occasional lapses (what's the use of Roi Rodrigo & Philip Lazaro as a gay couple? how can Tito be both an unfeeling stud and earnest father-to-be?) and lack of solid dialogue for the veteran actresses hamper the film, but otherwise the insightful narration of Barok and the interplay between the straight and bisexual characters make "TATLO MAGKASALO" worthwhile. Ara Mina, a relatively new star, delivers well and Rita Avila is luminous in a brief, dying-of-cancer role. Ryan Cayabyab's music (present in most Siguion-Reyna films) is fittingly evocative and buoys the story; the panoramas by Edgar Littaua (breathtaking views of mountains) add nice local color. "TATLO MAGKASALO" is a must-see for any fan of the director.

Today's audiences truly enjoyed TriStar Pictures/Dreamworks Pictures' THE MASK OF ZORRO: beautiful maiden, cliffhanger sword-fights, exciting horseback chases and a suave ruthless villain. Though some say Banderas cannot hold a candle to the former screen Zorros (Douglas Fairbanks, John Carroll, Tyrone Power, Frank Latimore), he is much much better than French star Alain Delon and makes the role his own with modern charm and proper sensuality (as seen in the wonderful tango with Catherine Zeta-Jones). The script, by Ted Elliott, Terry Rossio and Randall Jahnson, is smooth, talky and entertaining, with a nice ending. Beautiful Catherine Zeta-Jones is hard to resist, and the subtle and dignified performance of Anthony Hopkins lends some gravitas to a prominently Latin cast. The ham here is Stuart Wilson, splendidly nasty and chilling. I liked the way the movie starts with flashbacks, with Banderas and Zeta-Jones lulling their baby to sleep with the story of the legendary Zorro. The best scenes include Banderas' training under Hopkins, the well-choreographed tango scene, and the climax set in the gold mines. I hope Steven Spielberg decides to make a sequel with both Banderas and Zeta-Jones, for he surely found a gold mine in reviving a movie hero like Zorro. Enough with dinosaur movies for now, focus on Zorro!