Sugar Overload

Paano Na Kaya is a cotton candy dipped in honey and sprinkled with confectioner's sugar. It is that diabetically sweet yet matabang pa rin. Sobrang dami na ng hinalo sa kanya upang maging masarap pero bland pa rin ang lasa niya. Parang Kare-kareng walang bagoong. Parang Halo-halo na walang gatas.

To begin with, artificial ang dating ng pagka-"mature" ng characters nina Gerald Anderson at Kim Chui. Despite their projections and looks, mukha pa rin silang mga teenagers na naglalaro ng bahay-bahayan at nagpapa-cute sa isa't-isa. Modulated ang boses ni Gerald at nagshi-shriek pa rin ang kay Kim.

Second is the movie feels like a hodgepodge of everything Star Cinema. It feels like they put their hands into a box of story elements so they can create a new story. Ang kinalabasan ay isa lang siyang copycat at walang sariling identity.

The concept itself of best friends falling in love with each other reminds us of the Jolina Magdangal-Marvin Agustin starrer, Labs Kita, Okey Ka Lang? Yes, di na naman bago ang kuwentong nai-in love ang mag-best friends sa isa't-isa but still, parang second fiddle pa rin sila sa naturang pelikula.

The teasing towel scene of Bogs (Gerald) where he pretends to take off his towel in front of Mae (Kim) is reminscent of the Judy Ann Santos-Rico Yan movie, Paano Ang Puso Ko. That scene was cute kasi may halong innocence ang karakter ni Juday, PNK's is annoying. Mag-iinarte si Mae ng ganu'n samantalang pinapayagan niyang maligo si Bogs sa banyo ng kwarto niya! In the said movie, Juday is best friends with Wowie de Guzman. Wowie is in love with Juday, but Juday's heart is set on Rico.

This particular car scene could've been taken from Claudine Barreto-Rico Yan's Got To Believe. It was when Rico was telling Claudine on how to behave like a woman. Claudine sleeps on top of the car while Rico, who is starting to fall in love with her, just stares at her.

There is also another scene where Mae is watching Kung Ako Na Lang Sana with Sharon Cuneta and Aga Muhlach. Again, it's a movie about Sharon falling in love with her best friend, Aga, who eventually falls for her.

I am not sure if Paano Na Kaya pays homage to the aforementioned movies. If it does, then fine. Sana lang ay naging maganda at maayos ang naging atake nila about it at hindi mga simpleng copycats lang.

Isa rin na hindi maalis sa mga Star Cinema movies ay ang issue ng lead character with his/her father. Palaging may mga gusto siyang patunayan sa kanyang ama who only thinks of him/her as second best sa mga kapatid niya.

In this movie, it is Mae who struggles to prove herself to her father. She owns a clothing company, but gives it up to attend to their family business when her sister got married. Dito na rin uminog ang kuwento dahil hanggang kay Bogs, second best lang ang tingin niya sa kanyang sarili.

Two recent Star Cinema movies that dealt with such family issues were A Very Special Love (with sequel You Changed My Life) and For the First Time. (Pati ang pinakabagong Miss You Like Crazy ay may tema rin ng pagiging second priority.)

Just recently I saw Mark Anthony Fernandez and Claudine Barreto's Mangarap Ka on Cinema One. Mark has same issues with his father. This movie was from the '90s.

So, bakit palaging ganu'n? Wala na bang ibang plot na pwedeng gamitin as motivating factors for different characters? Nagkakataon lang ba ang pagkakapare-pareho o wala ng maisip na iba?

In terms of the lead characters' love story, Philbert Dy of Click the City used the term "love by default." I agree with him dahil from the beginning of the film, we should expect na in love na si best friend sa kanyang best friend. Hindi na natin dapat kuwestiyunin 'yun. It didn't bother to establish the kind of friendship they have and why is Mae so in love with Bogs. Ang ipinakita na kaagad ay ang pagiging alalay at sunud-sunuran ni Mae kay Bogs to the point na rito na umikot ang mundo niya--leaving work just so she can attend to his needs. Sabi nga ni Mae, ang taong nagmamahal ay tanga.

When she finally tells him she loves him after his break-up with his girlfriend, Bogs, in drunken state, tells her na sila na lang. Mae immediately jumps at the opportunity! Dahil nga, ang taong nagmamahal, hindi lang tanga, desperado pa! Walang dignidad na tinitira para sa sarili.

Things start to go well with the relationship at first. Dangan nga lang ay may mga kaibigang duda sa kanilang relasyon. Itong mga kaibigan na ito ay walang ibang magawa sa buhay kundi sundan ang love story nilang dalawa. (Tulad ng mga kaibigan ni Laida sa You Changed My Life.) Bukod pa ru'n ay nagpaparamdam uli si ex-gf at nakikipagkaibigan kay Bogs. Nu'ng makita ni Mae ang attempt ni ex-gf na halikan si Bogs, dito na nawala ang kwento.

Mae runs away. Bogs runs after her. Then Mae tells Bogs how insignificant she feels. Na she has every right to get jealous. Na sobra niyang tinututukan si Bogs dahil insecure siya sa sarili niya. Sa parteng ito, parang nagkaru'n ng lapse! Nagbabanggit si Mae ng mga bagay-bagay na di naman ipinakita sa pelikula. She has never acted jealous of the ex. Di niya nina-nag si Bogs sa whereabouts nito. Di niya ipinakitang insecure siya kailanman. Di siya gumawa ng demands kay Bogs. Same Mae pa rin siya as before kahit mag-syota na sila ni best friend. Tapos suddenly, maglilinya siya ng mga ganu'ng bagay? (Ito ang pinagmulan ng eksena kung saan sasabihin ni Mae na shinota siya ni Bogs. "Shinota mo ang best friend mo!")

Hindi naipakita sa actions ang narrative ng pelikula. All dialogues ito at sandamakmak na luha from Mae. Parang lahat ng mga sinasabi nila ay nasa back story lang that we never get to see. Kaya sino ba naman ang hindi mawiwindang sa mga pagkakataong iyon?

Sa trailer, I admit that Paano Na Kaya appealed to me. Despite the age-old concept, I found it interesting. But looks can be deceiving. Ang sarap ng pagkain ay nasa pagtikim nito at hindi sa kanyang itsura. Sadly, Paano Na Kaya is all fluff, but no character. It centered more on the events that "needed" to be there and how the characters would react to them rather than events happening as the results of the characters behaviors toward their surroundings.

P.S.
I saw on video the Aljur Abrenica-Kris Bernal flick "Nandito Ako Nagmamahal Sa 'yo" directed by Maryo J. delos Reyes. I could easily say na mas malaman ang tambalan nila kaysa sa Kimerald in terms of acting. Mas kapani-paniwala ang maturity nila sa pelikula.

Isa nga sa nakakatuwang eksena sa pelikula ay nang matapos panoorin ng dalawa ng sinasabing legend ng Chocolote Hills--ang mga burol daw ay ang luha ng prinsipe para sa kanyang namayapang sinta. Aljur says, "Ang sweet naman. Parang Kim-Gerald."

Miss You Like Crazy, Technically Speaking

I received this comment from Aidon on my Multiply blog re my Miss You Like Crazy review:

"Uy, surprisingly, nagustuhan ko sya. I was expecting a mushier and more formula from Star Cinema, pero I was amazed as how the director inserted interesting visual cues.

'Yung love scene sa hagdan na pinapagitnaan ng isang kahoy na blurred galing sa hagdan- which means 'yung hadlang na pinagdadaanan nila pero dinedma nila. 'Yung basa sa may damit ni Bea na sakto sa ari ni Bea (they were standing still, crying in Malaysia.) People laughed in the cinemas akala nila nagkataon lang. But I thought different- it's a visual cue na si John Lloyd 'yung unang naka-bembang Bea. Nauna s'ya du'n sa Malaysian guy, at sa kanya isinuko ni Bea 'yun. 'Yung mga bubbles na nandu'n sa jeepney scene, hanggang sa Intramuros- well, di ko pa na-figure out. Gustung-gusto ko yung ginawa ni Cathy Garcia-Molina. I think she's starting to raise the bar for us masses.

I also think it's pretty much inspired buy 500 days of Summer, with the bench on Malaysia scene, and the use of August."

I agree with Aidon re the visual cues used the movies. Napansin ko rin 'yun, and I must say that I was pretty much impressed by them.

Bukod sa nabanggit ni Aidon na hagdan scenes, may mga eksena kung saan pinapakitang may balakid sa relasyon nina Allan at Mia. Something always separates them--relationships with other people and the distance between them.


I especially liked the hand gestures before the love scene happened. I liked it so much that I hoped na du'n na lang sa scene na 'yun bumabad ang camera habang nagkukuwento si Mia tungkol sa pangangaliwa ng ama niya. The hand movements already tell a story--'yung hesitation ni Allan sa paghawak sa kamay ni Mia at 'yung courage niya to finally do it. (This was right after Mia learns that Allan has a girlfriend, before she actually meets Daphne.) Medyo ilang si Mia about it, but she's finding it hard to resist it. Until finally she lets go after talking about her father. The scene was opened and closed properly.

I felt that that scene alone was ingenious! Of course this is a mainstream movie kaya di nila kinayang magbabad sa scene na 'yun.

The writing on the rocks has the "Itaga mo sa bato" feel to it. Once written on the rocks, hindi na ito mababali. The same way as the film talks about destiny--anuman ang pagdaanan mo, kung nakatadhanang maging sa 'yo, walang makakapigil nu'n.

However, despite these ingenuities, babalik at babalik pa rin tayo sa narrative ng pelikula, at doon ako na-disappoint. May problema sa naging story telling. Mas nag-focus sa mga pampakilig elements rather than sa kabuuan ng journeys nina Allan at Mia.

Even the Malaysia setting was a waste. It is not as if kinarir ni Allan na magpunta sa Malaysia para hanapin si Mia. Nagkataon lang na pinadala siya roon for a conference. With that, actually, naging madali para sa mga characters natin ang pagbabalikan nila. Tulad nga ng concept ng pelikula, tadhana na ang gumawa ng paraan para pagsamahin sila--the same way ng pagpapaubaya ni Mir sa relasyon nila ni Mia. Kahit naman tadhana ang involve, gusto pa rin nating makita na worth it ang pinagdaanan ng mga bida para gustuhin nating magkabalikan sila. Hindi 'yung basta-basta inihahain na lang sa kanila ng mundo ang mga nais nila sa buhay. Any place could've worked in such situation kung ganu'ng susubuan din naman sila.

May mga inserted montage din during Allan and Mia's coffee conversation. I felt that it was off. Parang pinilit lamang ipasok upang maipakita na may "pinagdaanan" ang friendship ng dalawa bago nila ma-realize na gusto nila ang isa't-isa. The movie could've taken them away, but this is a Star Cinema movie so montage is a must! Sana nga lang, properly inserted sa movie without giving the audience a disorienting feeling.

Acting-wise, JLC has always been good. Whenever he doesn't utter lines, he makes sure he says something with his expression or body movements. Bea delivered the dramatic scenes well, although minsan sana, maiwasan 'yung kontodo iyak. There are so many ways to show grief at hindi lamang sa pagtulo ng luha. In the earlier part of the scenes, medyo off 'yung pagka-quirky niya. Medyo pilit ang dating.

Mir was too kind for his own good. When Allan told him that he still love Mia, and that he (Mir) should leave her, he shoul'dve smack Allan on the face right there and then! Kapal muks niya! Feeling ba niya ay pag-aari niya si Mia? Instead of doing that, though, luminya lang si Mir ng kesyo kanya na si Mia at Allan lost his chance with her. At dahil nga sobrang bait niya, pinakawalan niya rin si Mia in the end na walang ka-struggle-struggle. (Kung may struggles man, hindi na iyon naipakita sa movie.)

And like Aidon said, MYLC is very much 500 Days of Summer, as well.

MYLC tries to be different, yes. Pero kulang ang naging effort. Hindi naging enough para masabing isa itong movie na maipagmamalaki natin. In the end isa pa rin itong pelikulang meant para magpakilig ng masa at kumita ng pera. Hindi niya napantayan ang pagka-polished ng One More Chance na bawing-bawi sa naging takbo ng k'wento.


Pictures taken from here.

No Surprises Here

Miss You Like Crazy takes a shot at destiny. And when it comes into play, there is really no getting away with it. Giveaway na ang ending. Wala nang sorpresa na naghihintay pa sa manonood. You just sort of get into the ride and witness how the characters get through their goals. Minsan thrilling ang ride. Minsan bored to death ang aabutin mo.

Destiny ang pinaglaruan ng pelikula, yet it is the same thing that drags it to fiery holes of hell.

For one thing, MYLC suffers from the lack of substance in characterization. It relies too much on the John Lloyd Cruz-Bea Alonzo team-up, forgetting that we, its audience, should still have reasons to like them as a couple. Parang naging given na na we should root for them and cheer as they get back together in the end, no matter how ordinary or flawed their characters are. So anuman ang pagdaanan nila sa pelikula, whether we like it or not, it is destined that they should be together.

In the beginning we meet Allan (JLC), seryoso at propesyonal. Riding on the Pasig River ferry, he meets the quirky Mia (Bea) who likes writing her thoughts on rocks and leaves them behind. (After a while iisipin mo kung gaano kaya kabigat ang bag ni Mia with all those rocks in it!) Allan picks them up. (Hobby niya, probably.) Bukod pa ru'n, hilig rin ni Mia na ihagis ang Nagaraya nuts at sapuhin ng kanyang bibig. Wala naman talagang saysay ito sa kanyang buhay o pagkatao. Trip niya lang (or feeling juggler siya siguro).

Of course, dahil sa trip niyang iyon, Allan is smitten by her. Minsan sa ferry ride, Mia cries (na trip niya ring gawin paminsan-minsan sa ferry, not minding the people around her). She writes on a rock, leave it on a chair, and leaves. Allan picks it up and reads "Goodbye world!" Thinking that she might kill herself, Allan runs after Mia and stops her. Only that Mia is not contemplating suicide pala. Natawa lang siya sa ginawa ni Allan. (Later on di na natin malalaman kung bakit nga ba sinulat ni Mia ang statement na 'yun. Probably nagti-trip lang uli.)

After the ride Mia follows Allan and apologizes for her behavior. She treats him lugaw sa tabi-tabi. Magic happens. (If you're a Star Cinema movie follower, you'd know that eating in turo-turo creates magic to the would-be lovers on screen. Tulad ito ng Magic Kamison ng Regal Films kung saan ang lugaw o isaw o kung ano pa man ay parang pana ni Kupido.) With such lugaw acting as gayuma, Allan and Mia will fall in love!

Given na rin naman ang nangyaring iyon for an old man had already predicted years ago that Mia will meet a man on a ferry who's wearing eye glasses and falls in love with him. Hindi nga lang magiging madali ang journey nila. But on February 24, 2010, they will be reunited.

Ang problema: Allan is in a relationship with the high-maintenance Daphne (Maricar Reyes). Learning about her, Mia becomes uneasy. Alam niya ang sakit na dulot ng pangangaliwa for her father is a philanderer. Yet she gives in to Allan's desires and open-mouthed kisses! They made love on the stairs.

Mia feels guilty about what happened. She tries to leave, but Allan tells her that he will do something about the situation. She should wait for him at the ferry the next day.

Allan, after being in a relationship for four years with Daphne, realizes that he isn't compatible with her. He breaks up with her, but never bothered showing up at the ferry the next day.

Hurt, Mia leaves for Malaysia. Soon after Allan goes there and looks for Mia. Kaya lang, nagbago na ang sitwasyon. Si Mia naman ang may sabit at may anak-anakan pa. He tries to woo her back, but it is futile. Mia wants to honor her commitment to her Malaysian fiance, Mir. Allan returns home.

On February 24, 2010, Mir lets Mia go. Feeling kasi nito ay napipilitan lang si Mia na makisama sa kanya. Mia comes home and returns to Allan.

Interesante ang first half ng MYLC kahit pa may mga characterization flaws. Subalit on its second half, naging drag me to hell na siya! Kabi-kabilang kadramahan when you already know kung saan naman talaga tutungo ang pelikula. It drags for so long na hindi mo na makuhang ma-excite pa sa pinagdadaanan ng bida.

Making a choice is centered on Allan's character: between Daphne and Mia. Only that alam naman natin na si Mia ang pipiliin niya dahil sa umpisa pa lang, hindi na naging maganda ang characterization ni Daphne. Simula pa lang, bitchy girlfriend na ang dating niya. So sino nga ba naman ang gugustuhing siya ang makatuluyan?

With Mia, mas mabigat ang choices sa kanya dahil may nasang-ayunang siyang kasal kay Mir at may involve na anak-anakan pa. Pero hindi naman talaga nai-focus ang hirap niya sa pagpili. We never get to see her struggles with her relationship with Mir na isang mabait at responsableng lalaki. When she leaves him, hindi niya isinaalang-alang ang feelings ng kanyang anak-anakan. Parang naging kasangkapan lang ang bata at walang naging matinding hold sa kung anumang desisyon ang dapat niyang gawin. In the end, si Mir pa rin ang nagdesisyon na makipaghiwalay sa kanya. Asan ang sinasabing paghihirap niya?

Allan and Mia may have shared sweet moments together at the start, pero hindi 'yun sapat para gustuhin kong magkatuluyan sila. To hell with destiny! Give me something more to hold on to.

MYLC is Star Cinema's take on My Sassy Girl: simple-minded guy meets a quirky girl. (Madaming elements ang kinuha ng movie sa MSG.) Fate din ang tinatalakay ng MSG, but it wasn't rubbed on the audience's faces. There was subtlety and and the element of surprise in the end.

Ang MSG, maraming pa-cute scenes subalit may saysay. Ang MYLC ay tadtad ng pa-cutan subalit hanggang sa pagpapa-cute level lang. Andya'n ang mga bato, ang mga balloon, ang Divisoria briefs, ang Nagaraya, etc.

Kung Pinoy MSG din lang, sa Say You Love Me na lang ako ng Regal Films!

David Double Feature

This is one of the most memorable birthday celebrations that I have! Hindi lang sa birthday celebration ko ito, binyag din ng aking pinakamamahal na pamangkin, si Collin Emmanuel.

Thanks to Pic-a-booth at super nag-enjoy ang mga bisita sa mga kalokohang pinaggagagawa nila sa harap ng camera. Salamat din sa mga nagbigay-oras upang um-attend sa okasyon na ito. Sobra kong na-appreciate ang inyong pagdalo!

Film 131 Assignment: Biyaheng Lupa

This is not a review of the film as a whole, but rather an assignment on the aspects of the film's cinematography and the use of the sound. It is quite technical, but you can still catch information about what the film is all about every now and then. Spoilers ahead, though.

Legends:
Long shot - a wide view of the scenery
Long take - a lengthy shot of a particular scene that continues before the next transition
Medium shot - a framing that shows a character from the chest up
Extreme close-up - a large framing that focuses on one part of an object or body
Diegetic sound - any sound coming from a source within the film's world
External diegetic sound - sound represented as coming from a physical source within the story that we assume characters also hear
Internal diegetic sound - sound that comes from the mind of the character within the story space
Nondiegetic sound - any sound coming from a source outside the film's narrative
Simultaneous sound - Diegetic sound that is represented as occurring at the same time in the story as the image it accompanies
Nonsimultaneous sound - Diegetic sound that comes from a source in time either earlier or later than the images it accompanies

Source: Film Art (8th Edition) by Thompson & Bordwell

Cinematography. Armando Lao’s recent works has been associated with movies that use long takes ("Kinatay," "Kubrador," and "Serbis"). So, one would easily expect that he would take the same route in his directorial debut. However, since the movie’s setting takes place on a bus, there's not much of such takes except on scenes where one or two characters are in focus, outside the bus, in their own place.

For example, when Mickey (Carlo Guevarra), the deaf boy, reaches his destination. In earlier parts of the movie, we, the audience, are told that he is meeting his mother for the first time. He feels anxious and excited at the same time. His adoptive mother, who did not know of his trip, through text messages, sends her love and concern. She couldn't stop him so she just wishes him a safe trip.

Mickey enters a cemetery. His mother lies there. The camera follows him as he enters the place. Once inside it gets behind him as he locates the tomb of his mother. We follow his trail, as if we are walking behind him. When he reaches the tomb, he touches the epitaph and introduces himself to his mother. Closure happens for finally, he gets to meet her. The camera stays at a distance, avoiding closer contact to the character. It is as if saying that, as spectators, we should give Mickey and his mother the space and time for themselves.

Second is Fina (Sharmaine Buencamino) who meets her husband (Noni Buencamino) at the bus stop. She comes from Manila to join the contest “Pera O Bayong.” Her husband happily tells her that their family has watched her on TV. She smiles. They walk. Silence follows.

Fina’s smile fades, showing how disappointed she is with her husband. Earlier on the bus, before she gets off, she wishes that she has married Tony, an ex-suitor, who is already a successful businessman.

As the couple reaches the bridge, the camera shoots them from behind. We see them walk away from us until they get to the boat. It is the last we see of them. We will never know what will become of their relationship.

Camera shots are nothing exceptional. They are mostly medium shots of the characters inside the bus as we hear them speak through their thoughts. They are wondering what the future has in store for them as the bus goes forward to Legazpi City. Each one of them carries a baggage from the past that they either want to leave behind or use as a springboard to create better lives for themselves.

Frames change to extreme close-ups during emotional scenes of one’s characters—from the forehead to the nose, focusing much on the eyes as tears start to pour. They begin to remember a certain past in their lives that led them to the journey in the bus.

Fina is going home from a trip to Manila to try her luck in winning and becoming rich. She cries as she regrets not marrying Tony, feeling sorry for the state she is in with her husband.

Irene (Eugene Domingo) weeps about leaving her son for she is about to work in Oman for two years.

Susan Africa’s (unnamed) character's tears fall when she finally gets a nod from his dead father through a butterfly that lands on her lap. His father just died, and she feels that he had not loved her at all.

Time plot is of the essence during the extreme close-ups. After such emotional scenes for the characters, they go off the bus, reaching their destinations. Different shades of the sky also tell what time the story is taking place. It started with light and progresses to dark.

At the last few sequences in the film, there is a long shot of an empty bridge at night that lasts for a few seconds. It has an eerie feel to it, an indication that something bad is about to happen to the bus and the remaining people on it.

True enough, as the bus enters the frame from the left, it stops before it reaches the middle. People fade inside the bus, leaving their personals behind. A radio announcer says that there is accident. The bus has fallen off the bridge.

The movie has used some light tricks to help with its narrative. One instance is when Obet (Coco Martin) sees the sign board destinations of buses while at a bus rest. He is going to Legazpi to find a job and pursue a new life. The camera pans at their bus's sign board (Legazpi) then on the bus beside it (Manila). It goes back and forth at the signs. Obet is at a crossroad. Soon a light shines on his face. He makes a decision. The light comes from the bus’s head lights going to Manila which is about to leave. Obet runs towards it and leaves on it.

Lilian (Angel Aquino) is one of the passengers left when the bus met the accident. As she lies on the overthrown bus, a light shines on her face. She smiles signifying her readiness to go. She is happy about it for she does not feel alone anymore. All her life she is looking for a boyfriend, thus the trip to Legazpi. Earlier on she meets Pepe (Allan Paule), the bus conductor, who showed interest on her. She is glad with the attention that Pepe bestowed her. She brings it with her as she leaves the bus.

Sound. The film mostly uses diegetic sounds. These are ambient sounds like the bus’s engine, the cars honking nearby, vehicles passing, people talking, the sound of the TV, etc. These sounds are prominent while the bus door is open and at a stop. Once the bus closes, it tells a different story. It shows a different world where all can be heard are the passenger's thoughts.

When Mickey rides the bus, ambient sounds fade. Internal diegetic sounds begin. The passengers are heard talking about Mickey with their heads. It can be perceived that he could be the central character, but he isn’t. There is nothing to hear from him as the film progresses because he is deaf and mute.

There is no audible sound inside the bus, only thoughts. However, when shots outside of the bus are seen, external diegetic sounds come back, like the marching band music that the bus passes by in one of the towns.

Most sounds are simultaneous. One’s thoughts are taken in while the frame focuses on the character himself. As they think, we get to see their faces and their reactions.

The sound becomes nonsimultaneous when the character begins to remember or dream events of the past or contemplating about the future. The images that appeared on screen are not current with the sound being played.

Nonsimultaneous sound is also used during the last scene when it is reported that the bus was on an accident, and the people on it passed away. The reporter is not shown. She is only heard over the images of the dying passengers.

Nondiegetic sound only comes from the music scoring.

There is an instant, though, when diegetic and nondiegetic sounds interact with each other, blurring the lines between them.

Anabel (Mercededs Cabral) reminisces her neighbor who gave birth to a squid. She is pregnant and is afraid that her unborn child might be dead inside or a squid. Sound flashes back to the neighbor giving birth. The midwife (or the mother herself) screams when she learns that the baby is a squid. The scream intertwines with a music that begins with some sort of a chanting. The sounds seem one with each other until they begin to separate.

Another music that is played on the film is “Kahit Isang Saglit.” It is an external diegetic sound for it is played on TV/videoke. Aside from that, since it is a sing-along video, the characters sing to it verbally or mentally, thus becoming internal diegetic sound at the same time.

Each character becomes the focus as he/she sings a line of the song, letting us know that that is what he/she is feeling at the moment. It is such a creative jive of a song to a film. The song is already made before the film, and one wonders if the film is fitted to the (lines of the) song or it so happened that the song fitted the film during its creative process. Either way, it is ingenious. A different way of telling the story of each character.

Overall, sound is applied very well. It is incorporated with a commendable acting ensemble.


Pictures taken from Facebook photos

The Songs of Bituing Walang Ningning

Before I begin, let's first describe what a Pinoy musical movie is. In the Philippines we don't have much musical movies in Hollywood standards where songs are written specifically for the characters or events in the film. Mostly pop songs (or adapted pop songs) are incorporated into the film and sang by the characters in dream sequences or at the end of the movie. If the leads are singers, they usually sing in bars, in concerts or during rehearsals. Songs are also used in (several) montages of "kilig" sequences or when the characters sing under the trees to express their devotions to one another.

Unlike any other Pinoy musical movies (or any Sharon Cuneta musical movies for that matter), kakaiba ang Bituing Walang Ningning ni Emmanuel Borlaza. The songs were very much part of the film. They were carefully chosen to tell a story. They expressed the emotions of the characters that they hardly verbalized. Most of them may not be written and produced especially for the film, but they fitted well in detailing the events that (were about to) transpired on screen.

I Just Called to Say I Love You. This Stevie Wonder original is heard several times in the film more than the theme song itself. However, sa tuwing maririnig natin ang awiting ito during the first half of the film, nagbabago ang kanyang kahulugan. Depending on who sings it under what circumstances, nagkakaru'n siya ng ibang purpose.

At the beginning of the film, it serves as a springboard when we hear it being played on the radio. Single ito ni Lavinia Arguelles (Cherie Gil), ang hinahangaang mang-aawit ni Dorina Pineda (Sharon Cuneta). As a devoted fan, Dorina is all ears to it while picking Sampaguita, and singing along with it once in a while. Tangan-tangan niya ang battery-operated radio sa kanyang braso habang hawak-hawak ang maliit na bilao kung saan niya nilalagay ang kinukuha niyang bulaklak gamit ang kanyang kaliwang kamay.

Iyon din ang mismong Sampaguita na kanyang iaalay para sa kanyang iniidolo na siya ring pinagkakakitaan niya upang makabili siya ng mga bagay na may kinalaman kay Lavinia tulad ng magasin.

Sa tagpong ito ay pinapakita na kung gaano ka-committed bilang fan ni Lavinia si Dorina. Sa pagtatrabaho man o pag-aaral, siya lagi ang laman ng kanyang isipan. Siya ang kanyang inspirasyon. Magutom man o malagay sa panganib ang buhay, hindi niya iindahin. Mahal niya siyang tunay.

"Hindi na baleng gumastos ako ng anim na piso dito eh kahit basahin ko man ng paulit-ulit, busog pa ko. Eh 'yang dalanghita na 'yan, kainin ko nga, natunaw naman. De wala rin."

I Can Wait Forever. Sa isa sa kanyang mga show events, ginamit ni Lavinia ang awiting ito (originally sung by Air Supply) upang ipahatid ang kanyang nararamdaman sa kasintahang si Nico Escobar (Christopher de Leon). Ito ang kanyang harana.

Nico is in love with her, and is much willing to marry her anytime. She, too, wants to marry him. But marriage has to wait. Marami pa siyang gustong ma-attain sa kanyang career. She still has to make sure that the pedestal she is standing on will remain hers forever.

So saying that she can wait forever demands something from Nico. She can wait forever, so long as he can wait for her, as well, not minding taking the backseat every now and then. She is career-oriented, and marriage is not a priority.

I Just Called to Say I Love You. Matapos haranahin ni Lavinia si Nico, ang kanyang adoring fans naman ang kanyang inaawitan via the promotion of her single. Away from the cheering crowd, she is a star. Keeping her distance from the roaring audience, she is a queen.

However, Dorina is different. Hindi siya paaawat sa pagpapakita ng kanyang pagmamahal kay Lavinia. She seizes the opportunity whenever she sees one. Nasaan man si Lavinia, andu'n siya upang suportahan ito. Wala siyang konsepto ng ka-cheapan o kahihiyan, so long as maipahayag niya ang kanyang affection para sa kanyang idolo.

Again, like her song to Nico, iba rin ang tunay na pinakakahulugan ni Lavinia sa awitin niyang ito para sa kanyang fans. Mahal niya sila so long as they know how to keep their distance from her. Mahal niya sila so long as alam nila kung saan sila lulugar sa kanyang buhay. Siya ang nag-iisang bituin sa langit. Sila ang mga taong nakamasid lamang sa kanyang ningning mula sa ibaba. Hinding-hindi sila dapat makakatagpo.

How Can I Tell You It's Over. Lavinia and the record studio people listen to her newly-recorded song (composed by Willy Cruz and Diane Siscar). It isn't as prominent as the other songs in the film for it is played softly in the background. Ganu'n pa man, ang nilalaman ng awitin ay nagbabadya on what's about to happen to the current lovers on screen.

Mabubunyag na ang tunay na hangarin nila sa buhay na hindi sang-ayon sa mga gusto nilang mangyari para sa isa't-isa. Nico wants marriage; Lavinia wants more fame.

Lavinia: Kung pakakasal ako sa 'yo, Nico, dalawang kundisyon. Una, hindi ako titigil sa pag-awit. Hindi kita maaasikaso. Ako ang aasikasuhin mo. Pangalawa, hindi tayo mag-aanak.

Ayokong magkaanak. Ayokong may magmana sa akin. Ayoko may makatulad, kahit pa anak ko.

With that, even before they knew it, their relationship falls apart. No matter how they try to salvage it, it won't work.

Matud Nila. Dorina part-times as a singer during wakes. In here she sings a Ben Zubiri-penned Cebuano song that speaks about undying love and aspiration for someone despite what others might say. Hindi na baleng magmukhang tanga at katawa-tawa, her feelings will remain the same.

The song could be an ode to the departed one. It could also be Dorina's promise to Lavinia, that she will remain loyal to her despite what others think of her.

However, later on, Dorina would have to give up fame and fortune for someone better. Anuman ang sabihin at isipin ng iba, pipiliin niya ang mas mahalaga para sa kanya.

Subalit sa naturang wika rin ng iba matatagpuan ni Dorina ang kanyang tinig. Si Augusta Victa (nasa litrato) ay isang club manager na nagustuhan ang tinig niya, at kinuha siya bilang singer ng club nila.

Ocean Deep. A Cliff Richard original, Dorina sings the song for the first time as a club singer. The lines "Can't you give this fool a chance" very much speaks of what she feels as a first time singer. Masaya siya sa tiwalang ibinigay ng club manager sa kanya subalit hindi lubusan ang tiwala niya sa kanyang sarili. With that, katakot-takot na pasasalamat ang kanyang pinaabot sa mga taong sumusuporta sa kanya. Bati rito, bati roon. Kaway riyan, kaway roon.

Dito pa lang ay makikikita na ang pagkakaiba ni Dorina kay Lavinia sa pakikitungo sa tao. Lavinia exudes confidence, but is stand-offish; Dorina is amateur, yet very warm.


Total Eclipse of the Heart. Ito ang awiting babago sa buhay ni Dorina. The song that will give her a 180 degrees turn. The moment Nico hears her, he knows that Lavinia has found her match. If Lavinia realizes that, he thinks, she may want to step down on her throne and becomes his wife.

Pero sa larong kani-kanilang tatahakin, hindi lang karera ang iikot kundi ang kani-kanilang mga puso.


Dorina begins her journey as a professional singer. When Larry Calma (Tommy Abuel) refuses to take Dorina under his wing, Nico becomes more determined to build her up. He trains her further in a bigger club. Soon enough, he puts up his own recording studio with friend Zosimo Blanco (Jay Ilagan) and manages her career.


Bituing Walang Ningning. This is the first time we get to hear the song written by Willy Cruz for the film. (In the movie it is Garry Diaz--Joel Torre, who supposedly penned the song for Dorina.) Wala pa siyang masyadong kahulugan sa mga karakter ng pelikula sa tagpong ito other than to introduce Dorina to the public formally as a singer.

On the side is Lavinia, wearing shades to disguise herself. Bumaba siya sa lupa upang kilalanin ang taong tinatapat sa kanya.


Nico tells Dorina his intention. He wants her to bring Lavinia down. Kung wala nang ningning ang bituin nito, wala itong ibang mapupuntuhan kundi siya. Gusto niyang siya ang maging mundo ni Lavinia, at hindi ang kinang ng entabladong sumilaw sa kanya.

Dorina is doubtful, but she agrees. She has feelings for him, but she has to let them go. Malaki ang utang na loob niya kay Nico. Pasasaanba't magkakaroon din ng tagumpay ang kanyang magiging pagsasakripisyo.

Sana'y Maghintay Ang Walang Hanggan. Garry plays the intruments in the piano. Dorina listens. Malungkot ang kanta. May longing na pinadarama. Garry wrote it for Dorina. Only that she is too focused on Nico to realize that.


I Just Called to Say I Love You. Dorina is finally launched as a singer. She sings the song her idol is known for as a homage for her. Noon ay sinasabayan niya lamang ang kantang iyon, subalit sa pagkakataong ito, kinakanta na niya ito para sa kanyang idolo.

Hindi ito nagustuhan ni Lavinia. Hinamak niya si Dorina at sinabing isa lamang siya pipitsuging manggagaya. Hindi pa isinisilang ang taong papalit sa kanyang kinalalagyan sa itaas.

It's My Turn (Diana Ross). Natanggal na ang piring ng mga mata ni Dorina. She now sees Lavinia for what she truly is--mayabang, mapangmata, mataas ang tingin sa sarili. Kung dati-rati'y hindi siya sang-ayon sa nais ni Nico, ngayon ay gagawin na niya ang pagbagsak kay Lavinia para sa kanyang sarili. Hinamak nito ang kanyang pagkatao at nararapat lamang na patunayan niya ang kanyang galing sa mga tulad nitong hindi naniniwala sa kanya.

Siya naman ngayon ang sisikat. Siya ang titingalain. Siya ang hahangaan. Siya ang magpapabagksak kay Lavinia Arguelles, ang kanyang dating idolo.


The Glamorous Life (Sheila E.). The moment Dorina decides on what to do with her life, fame and fortune come next--recordings, TV guestings, autograph signing, etc. Siya na mismo ang nagpaikot ng buhay niya na naaayon sa gusto niya mangyari, at hindi dahil lamang sa idinidikta ng iba sa kanya.

She wants to lead a glamorous life.
She won't need a man's touch...

Hindi pa sumusuko si Lavinia. She still has tricks up her sleeves. Kung si Nico ang naging dahilan sa tagumpay na tinatamasa ni Dorina, si Nico rin ang magiging daan upang mapabagsak niya ito.

Ngunit katulad ni Dorina, nagbago na rin ang priority ni Nico. Hindi na si Lavinia ang center ng kanyang mundo.

Sana'y Maghintay Ang Walang Hanggan. Garry already wrote the words to the song. He plays it for Dorina. She sings it for Nico. Nico is clueless about it. He gets jealous and gives up. Pinaubaya niya si Dorina kay Garry dahil alam niyang di kakayanin ni Dorina ang i-give up ang tinatamasa nitong tagumpay para sa kanya in case he pursues her further. He wants a wife, not a star.

Nico: Garry, alagaan mong mabuti si Dorina. She's a nice girl. She deserves the best.

Nico, on the other hand, is told by people around him that Dorina has feelings for him. He is still hesitant about it until Dorina herself confesses. Nonetheless, he is adamant. He can't compete with fame. He has to have Dorina all for himself. He asks her to give it all up and marry him.


Dorina gets confused. She has to make a choice--love or career. She can't have both. One has to go for the other one to stay. Nasa kanya kung ano ang mas matimbang sa kanyang puso.

Sana'y Maghintay Ang Walang Hanggan. On her big night with Lavinia, Dorina makes a plea to two of the most important things in her life--love and career. She tells them to be patient with her, to wait for her. And whatever she decides, sana'y maunawaan siya ng bawat isa sa kanila.

At this point may desisyon mang nabubuo na sa kanyang isipan ay mayro'n pa rin siyang halong pagdududa. Wala ba talagang pagkakataong pagsabayin ang pag-ibig at karera gayong tunay naman niyang minamahal ang bawat isa? Can't there be a compromise? At kung sakali bang mamili siya ng isa, makapaghihintay ba ang naiwan sa kanyang pagbabalik?

Sana'y maghintay ang walang hanggan
Sana ang iyong paglingap ay muli kong matikman...

She is at a crossroads. It feels to her as if there is no turning back once she makes a decision. Hindi na maaaring balikan pa ang isa. She has to make a commitment.

Subalit kung paglimot ay di mapigilan
Alalahanin mong kay tagal kitang hinintay...

Bituing Walang Ningning. The film's final song. The film's conclusion.

Dorina makes a choice. She chooses Nico over her career. She would rather have love and be happy than have fame and fortune and not have a peace of mind. Mas nanaisin niya ang pag-aaruga ni Nico kaysa ang maging mag-isa sa ilalim kinang ng entablado.

She makes peace with Lavinia who certainly made a choice, as well--her career. She will remain her inspiration, her idol. But this time, hindi na iinog ang kanyang mundo kay Lavinia. Mayroon na siyang pagbabalingan ng pansin na mas mahalaga pa sa isang iniidolo--si Nico, ang kanyang minamahal.

Mabuti pa kaya'y maging bituing walang ningning
Kung kapalit nito'y walang paglaho mong pagtingin...