The 1997 stage musical—‘Ang Larawan’, which was restaged in the following year and was based on an earlier play titled ‘A Portrait of the Artist as Filipino’ (1966) written by Nicomedes Joaquin a.k.a. Nick Joaquin, a National Artist for Literature finally comes alive on the silver screen as one of the ‘Magic 8’ in the upcoming Metro Manila Film Festival (MMFF) 2017.
Clearly the intention of the film is to awaken the Filipino spirit within. Back then it was already a great challenge to face and to carry on.
Is it Idealism versus Mainstream?
This project was pursued by Girlie Rodis and Celeste Legaspi of Culturtain Musicat Productions, Inc. because of their intention of providing an ‘alternative’ entertainment for Filipino moviegoers and not just riding on the usual kind of romantic comedies and slapstick comedies that dominate film festivals especially during MMFF season.
In the film, Joaquin the playwright did create a ‘stir’ by questioning the ‘dying identity’ of Filipinos as a nation as embodied by the characters in the play like Don Lorenzo Marasigan (Leo Rialp), her two daughters–Candida (Joanna Ampil) and Paula (Rachel Alejandro), the godfather of the two unmarried Marasigan sisters—Don Perico (Robert Arevalo), the journalist Bitoy Camacho (Sandino Martin) and the male boarder—Tony Javier (Paulo Avelino).
Admittedly, the piece is brilliant. It is a brave act since it was set amid the looming World War II and the people in Intramuros including Paula and Candida are in a state of paranoia.
And if moviegoers are quick to see the semblance of the film’s message—it can reflect on today’s political condition. People are craving for ‘change’ and those who are in power render the marginalized as ‘voiceless’ and ‘helpless’.
The only way to survive is to embrace what is currently presented and imposed.
The fire of idealism is flickering; giving in to what mainstream.
The Piece is Timeless and Timely.
Every written work like the one penned by Joaquin is not a piece that can be buried in the past and just be forgotten. It can follow suit on the two controversial novels of Rizal (‘Noli Me Tangere’ and ‘El Filibusterismo’).
It could be a good vehicle to challenge the millennials and the iGeneration to find what their true identity is as Filipinos in these fast-changing times. The portrait that was painted by Marasigan serves as a reminder of our past or the nation’s fading history.
The generation of today must understand that whatever they are enjoying now are the fruits of the previous generations’ labors; handed down to them as some of them failed to grasp how tough life was; and now it is just easy to forget about it and make irresponsible actions.
The challenge for the audience—old and young is still the same during the coming of World War II. It is timeless and at the same time—timely. Are the youth ready to learn the past, learn more about it or simply want to jump into a more convenient choice—to be just like anyone else—be defined by what the dictum of the present government (even on what’s trending) or make a stand for the dawning of a new Filipino nation?
Is this film the right vehicle to shake those who chose to be numbed by circumstances and those who chose to be ignorant of what is happening?
Candida and Paula represented the few Filipinos who braved and fought about the beauty of poetry (which is likened to any Filipino’s ‘passion’ or their ‘truths’ or even their ‘faith’). Such are innate traits in every Filipino.
It is a brave act to follow even before; how much more if it’s being imposed today?
Beautifully Encapsulated and Painted.
Like Joaquin’s Marasigan, Arcenas succeeded in putting the two leads inside the walls of a Roman Catholic church depicted a scenario that until now—some Filipinos choose to remain imprisoned by whoever is in power, no matter how they try to rebel against it.
Filipinos allow themselves to be victims instead of being victors of their motherland.
The director was able to make the two lead actresses channel the required emotions of two women who are slowly losing their youth as well as their will to pursue their dreams even if they are being compelled to make unwise decisions by their older brother and sister—Manolo (Nonie Buencamino) and Pepang (Menchu Lauchengco-Yulo).
Ampil’s versatility in this film adaptation is not to be missed. She managed to shift from one emotion to the other and simultaneously show it in a breakdown scene in Act One. Alejandro, on the other hand gave justice to how she resisted the charms of Javier, which eventually seduced her into the harshness of life.
Meanwhile, Buencamino and Lauchengco-Yulo have aced their parts (likened to the hungry politicians; waiting for their prey to give in and as they’re ready to conquer and divide so they could fully reign over a kingdom as symbolized by their old paternal house.
When a nation like the Philippines is faced with a threat—created by ‘fake news’ and all—where will the citizens go? Do they act as spectators or vindicators?
As a whole, this musical film may quite be highfalutin to some. However, the audiences have to focused on the dynamics of the two sisters; their older brother and sister and the other characters created by the playwright.
Though the intention of the director is to deviate it from the previous form by showing or hinting images depicted in the portrait as a conscience; personally it could have been way better if it remained unrevealed. It leaves the audience to be curious and disturbed at the same time.
What made the film more appealing is the libretto referred as ‘Manila Tagalog’ by the deceased the National Artist for Theater and Literature Rolando Tinio accompanied by ABS-CBN Philharmonic Orchestra with composer Ryan Cayabyab as musical director.
‘Ang Larawan’ is like a joyride to the past and an intimate encounter with the brave souls created by Joaquin.
