THE KNEEJERK CRITIC CINEMALAYA2016 REVIEW: Ang Bagong Pamilya ni Ponching/ Hiblang Abo

Ok, so nagkaroon na ako ng filmfest fatigue. Nashogod na lolo niyo after days ng pagtambay sa Trinoma at panghuhuli ng pokemon in between screenings. At magastos pala magbinge watch sa sine kasi kailangang lumafang before, in between and after manood.

Apologies sa makers ng #dagsin kasi mas pinili kong namnamin na lang ang bed weather sa bahay kesa sumuong pa sa bagyo. Oo pag gusto may paraan, pag ayaw may dahilan. Pero really nashogod na lang ako saka malay niyo, nakatulong naman palang hindi ko siya nareview. Charot.

Which brings me to #angbagongpamilyaniponching at #hiblangabo .

I guess ok na rin na magkasama na sa review ang dahil thematically pareho ang review ko. Nalumaan ako pareho.

Sa “Ang bagong…”, although very current yung devise nila na cellphone scam, parang hindi ito nalalayo sa mga fish out of water comedies ng 70’s and 80’s kunsaan umiikot ang mga kwento sa miscommunication at mistaken identities.

How ironic na may “bago” sa title pero anluma ng peg no? Ilang beses ko na rin napanood yung eklat na makuha ng impostor-with-a-heart of-gold ang loob ng mga ini-scam niya. Saka yung mahabang litanya ng moral lesson in the end. Lerd, hungluma!

The biggest thing going for the movie ay ang charisma ni Janus del Prado as Ponching maski na ang portrayal niya ay isang kembot away from pagiging sinto-sinto acting na. Sayang lang at hindi fully namaximize ang chemistry ni Janus at Ketchup Eusebio. They have this very Dolphy and Panchio vibe going on and i could see them in a buddy film full of highjinks na mala-Kalabog en Bosyo.

Sorry luma pa rin.

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Kung old fashioned ang feel ng “Ang Bagong…”, “Hiblang Abo” is plainly old.

Well there’s of course the cast of older gentlemen actors and the source material which is old as well.

Hindi ako nangje-geria-bashing, huh. Lord, iyakin kaya ako sa mga ganun if done well. Hindi ko minemenos ang importance ng plight ng mga matatanda, especially yung wala nang mga pamilya.

Hindi ko rin binabash ang source material na oo, sige na award-winner as a play in the 1980’s. yun ang problema.

Una, magkaibang-magkaibang medium ang film at theater. Two, some works lends to be translated into film than others. Three, vision ng director.

Though i commend the 4 leads’ performances, i felt that for 3 of them, it was that, a performance. Pang-stage. Kay Lou Veloso ko lang naramdamam yung nuances na pang sine, small but defined.

Hindi ko nabasa and source material pero may feeling ako na maraming edited out dahil parang hindi cohesive whole ang kwento. Andaming “Bakit” at baaahkeeet” na lumitaw sa panonood ko which are two totally different thing, both not good. Either that o hindi lang talaga pang-adaptation ang play na ito.

Another is what i perceive as faithfulness to the letter of the play. If the play won in th 80’s, it was probably written or least concieved in the late 70’s. Wala pang EDSA revolution, Marcos pa ang nasa Malacanang, wala pang cellphone nor even pagers. So iba rin ang burning issues, ang motiation ng characters at intended reaction ng writer for the audience.

Though ransplanted into 2016 the issue of aging ang baggages may remain true, yung POV ng story has become dated, reflective of the times it was written, but leaving today’s audience in the cold.

Big deal siguro then an talakayin, but mental health, feudal abuses, labor strikes and closet cases are no longer the edgy hot button issues they once were in the 80’s. Iba na ang concerns ng viewers ngayon at reaction nila sa mg isyung yan, sana na-address yun.

Inupdate sana nila yung take nila sa play, found a new angle that touches on the baggages of today’s youth centric audience, made it more relevant…

… or they should have left it well enough alone.

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