A Review by JONATHAN CATUNAO
DARING. AMBITIOUS. Even suicidal. Given the hopelessly irreversible pattern of drama viewership in Philippine TV where plots are routinely adjusted to cater to the hottest star of the moment (“Please add more scenes for Actor X with Actress Y because the fans liked their chemistry. Make sure it appears next week”), where storylines are lazily adopted from foreign exporters like Korea and Mexico, where exchanges have to be long and extended, where family secrets have to be as twisted as possible, where crying and shouting scenes have to be as over-the-top as possible, TV5’s decision to run against the tide is truly a valiant even heroic effort.
Sa Ngalan ng Ina’s pilot episode was screened to raving receptions last night at SM North Edsa and if the entire one-month series is consistent with the quality of the pilot then I have to rethink my motion that Philippine TV Drama is fossilized.
Because for one hour at SM Cinema North last night, Mario O’Hara and John Red’s canvass painted a truly breath of raging fresh air in a TV landscape full of stupidity.
Sa Ngalan ng Ina is a mini-series which details two political families’ rivalry for control of a Philippine province.
Its story is as timely as the nation’s headlines where same family surnames take over as if town leadership is a family heirloom only descendants have the right to possess. Add some assassinations and grieving widows and you can see where it is loosely based from. This is what I fear is the film’s biggest weakness-- predictability and lack of originality.
The same dilemma faced the creators of the Greatest TV Drama of all Time--The Sopranos--when it was first launched at HBO late 90’s. A story about a Mafia leader can be a direct photocopy of The Godfather until viewers saw that this is a different take. As it turned out, Tony Soprano’s life is not just a murder and power. He also has to deal with petty family squabbles, a seizure problem and a nagging narcissistic mom. A dad with teenage kid problems in the morning and a psychopathic ruthless gang leader after breakfast. How comic and horrifying can it get? And yes, he weeps in front of a shrink on a regular basis.
Can Sa Ngalan ng Ina be as timely and as relevant but original at the same time? The skeptic in me says--no. But Direk Mario during the post screening confab says “ang kapal kapal ng script namin.” Looks like my concerns have been checked way before I can publish them.
The story line’s originality and predictability set aside, Philippine TV viewers are in for the biggest tsunami shock of their life as Sa Ngalan ng Ina promises to stake a claim as the Greatest Philippine TV Drama of All Times.
Screenplay– with lines like “Hindi mo kailangan ng eskandalo sa panahon ng eleksyon” and “Hindi mabibilang ang luha na galing sa puso,” SNNI’s speaking lines are both memorable and straightforward. This is the biggest improvement over the rest of the Philippine made soaps and series. In SNNI’s pilot episode, the characters are talking in rich drama --not dramatizing their talks.
Production Value– world class. The church, the funeral, the bombing scene. Looks really expensive.
Editing – the pacing is fast and furious. You have to keep your eyes open and yourself alert because cutting from scene to scene, viewers have to understand the foundation of the film. Amazing. (My favorite is the cut from the bombing to the argument between Ian de Leon and Alwyn Uytingco, galing nila Direk dito)
Nora Aunor , Boyet De Leon , Bembol Roco – wala ka nang hahanapin pa. In street parlance, "chicken na chicken" ang mge eksena.
Ensemble Acting– this is for me the best part of the film. Usually young actors are used as decorations so that their good looks will draw the young fans but in this series, some of them actually shone so bright. Let me cite the strongest and the weakest performances.
Osang – shines all throughout the episode as an Imelda Marcos archetype trying to protect her family from the aftershocks of their rival’s assassination. A simple misstep could make her a cheap parody of legendary screen bitches Rita Gomez and Celia Rodriguez. But Osang managed to control her performance and deliver a knock out. Osang’s path from a night club worker to one of the country’s premiere actress rivals that of Diablo Cody’s incredible journey. This deserves a separate article.
Alwyn Uytingco– where have you been hiding all these years boy? Your talent is so amazing and your rage so heartfelt. Bravo!!!
Ian de Leon– my initial fear that a family affair for the de Leon’s would be good for marketing but bad for the film’s quality due to Ian’s inexperience all vanished with the sight of the Ian-Alwyn confrontation. Goodness, this boy can deliver his line. So deep. So strong. Move over Luis Manzano, dami mo pang kakaining lalim.
I would also cite a few that needs improvements:
Uge– reduced to a Nora sidekick during the pilot. Hope to see more moments for her or her participation would be a waste if her talent not used well in the series.
Edgar Allan Guzman– the only Best Actor among the young stars is in danger of being eclipsed by colleague Alwyn if his Romeo and Juliet storyline with Karel does not develop into something more relevant.
Nadine Samonte– As a young beautiful daughter running for political office (think Shalani Soledad), she lacks power and depth. At times she looks forced to portray scheming and cunning.
If the rest of the series is as good as the pilot, Philippine TV can take a bow and beam with pride. This one’s for you!
Watch your back, my dear Tony Soprano. Here comes the widow in black--- DONYA NEGRA.
DARING. AMBITIOUS. Even suicidal. Given the hopelessly irreversible pattern of drama viewership in Philippine TV where plots are routinely adjusted to cater to the hottest star of the moment (“Please add more scenes for Actor X with Actress Y because the fans liked their chemistry. Make sure it appears next week”), where storylines are lazily adopted from foreign exporters like Korea and Mexico, where exchanges have to be long and extended, where family secrets have to be as twisted as possible, where crying and shouting scenes have to be as over-the-top as possible, TV5’s decision to run against the tide is truly a valiant even heroic effort.
Because for one hour at SM Cinema North last night, Mario O’Hara and John Red’s canvass painted a truly breath of raging fresh air in a TV landscape full of stupidity.
Sa Ngalan ng Ina is a mini-series which details two political families’ rivalry for control of a Philippine province.
Its story is as timely as the nation’s headlines where same family surnames take over as if town leadership is a family heirloom only descendants have the right to possess. Add some assassinations and grieving widows and you can see where it is loosely based from. This is what I fear is the film’s biggest weakness-- predictability and lack of originality.
The same dilemma faced the creators of the Greatest TV Drama of all Time--The Sopranos--when it was first launched at HBO late 90’s. A story about a Mafia leader can be a direct photocopy of The Godfather until viewers saw that this is a different take. As it turned out, Tony Soprano’s life is not just a murder and power. He also has to deal with petty family squabbles, a seizure problem and a nagging narcissistic mom. A dad with teenage kid problems in the morning and a psychopathic ruthless gang leader after breakfast. How comic and horrifying can it get? And yes, he weeps in front of a shrink on a regular basis.
Can Sa Ngalan ng Ina be as timely and as relevant but original at the same time? The skeptic in me says--no. But Direk Mario during the post screening confab says “ang kapal kapal ng script namin.” Looks like my concerns have been checked way before I can publish them.
The story line’s originality and predictability set aside, Philippine TV viewers are in for the biggest tsunami shock of their life as Sa Ngalan ng Ina promises to stake a claim as the Greatest Philippine TV Drama of All Times.
Screenplay– with lines like “Hindi mo kailangan ng eskandalo sa panahon ng eleksyon” and “Hindi mabibilang ang luha na galing sa puso,” SNNI’s speaking lines are both memorable and straightforward. This is the biggest improvement over the rest of the Philippine made soaps and series. In SNNI’s pilot episode, the characters are talking in rich drama --not dramatizing their talks.
Production Value– world class. The church, the funeral, the bombing scene. Looks really expensive.
Nora Aunor , Boyet De Leon , Bembol Roco – wala ka nang hahanapin pa. In street parlance, "chicken na chicken" ang mge eksena.
Ensemble Acting– this is for me the best part of the film. Usually young actors are used as decorations so that their good looks will draw the young fans but in this series, some of them actually shone so bright. Let me cite the strongest and the weakest performances.
Osang – shines all throughout the episode as an Imelda Marcos archetype trying to protect her family from the aftershocks of their rival’s assassination. A simple misstep could make her a cheap parody of legendary screen bitches Rita Gomez and Celia Rodriguez. But Osang managed to control her performance and deliver a knock out. Osang’s path from a night club worker to one of the country’s premiere actress rivals that of Diablo Cody’s incredible journey. This deserves a separate article.
Alwyn Uytingco– where have you been hiding all these years boy? Your talent is so amazing and your rage so heartfelt. Bravo!!!
Ian de Leon– my initial fear that a family affair for the de Leon’s would be good for marketing but bad for the film’s quality due to Ian’s inexperience all vanished with the sight of the Ian-Alwyn confrontation. Goodness, this boy can deliver his line. So deep. So strong. Move over Luis Manzano, dami mo pang kakaining lalim.
I would also cite a few that needs improvements:
Uge– reduced to a Nora sidekick during the pilot. Hope to see more moments for her or her participation would be a waste if her talent not used well in the series.
Edgar Allan Guzman– the only Best Actor among the young stars is in danger of being eclipsed by colleague Alwyn if his Romeo and Juliet storyline with Karel does not develop into something more relevant.
Nadine Samonte– As a young beautiful daughter running for political office (think Shalani Soledad), she lacks power and depth. At times she looks forced to portray scheming and cunning.
If the rest of the series is as good as the pilot, Philippine TV can take a bow and beam with pride. This one’s for you!
Watch your back, my dear Tony Soprano. Here comes the widow in black--- DONYA NEGRA.
No comments:
Post a Comment