If there is one film that confounds viewers and students of Filipino cinema with its increased status as one of Philippines' bests ever, over a very long period, it should be Ishmael Bernal's HIMALA/Miracle (1982). According to Pinoy Rebyu, a film aggregator, in its survey of Filipino films last year, the Nora Aunor-starrer now ranks second to consistent leader, Lino Brocka's MAYNILA, SA MGA KUKO NG LIWANAG/Manila, in the claws of neon (1976), a marked improvement from its ninth place in 1989.
Consider that on the year of its release in 1982, although it swept the awards at the MetroManila Film Festival - also, the festival's topgrosser - HIMALA, while it was nominated by three-awards giving bodies at the time - the FAMAS, the Manunuri ng Pelikulang Pilipino and the Film Academy of the Philippines - it did not merit a major win, in directing, acting and writing categories. (The lesser known body, the Catholic Mass Media Awards, if I remember it right, must have honored the film though.)
Nevertheless, the film was luckier in the international film festivals: the first Philippine film entry in competition at Berlin International Film Festival (lead star Nora Aunor almost won the Best Actress award); the Bronze Hugo Prize at the Chicago International Film Festival; and another citation in an Asian festival.
The question that has been obviously asked of Philippine award-giving bodies through these years: What were you thinking at that time? Was HIMALA as film so ahead of its time?
Fast forward to the 21st century:
- In 2008, the Viewers Choice Awards listed the film as the Best of All Time from the Asia Pacific; at the CNN Asia Pacific Screen Awards; Nora Aunor was voted as the Best Actress from Asia.
- In 2012, the film became the first restored by ABS-CBN Archives and Central Digital Media; the restored film made its international premiere at the Venice International Film Festival
True, it takes some historical distance to appreciate the full merit of a film. In the case of HIMALA, it took more than two decades for people to sit up and take notice.
A revaluation of any work needs to acknowledge the context of its making and ascribe importance - whether the film has indeed broken new grounds - whether thematic or formal - and maintained its legitimacy over a long period of time.
If I may make mention three key points to its enduring appeal, this must be the case.
1. The way Bernal orchestrated that monumental crowd scene after the assassination of Elsa, the protagonist, many will say, may never be duplicated in a long time;
2. The honesty and accuracy of Nora Aunor's performance - with minimum of dialogue and gestures - is now, more than ever, being recognized as a career best, and arguably, the best performance by a Filipino actor, one to whom everyone else will be measured;
3. The power of Ricky Lee's writing, perhaps one of the most fully-realized materialist examination of religiosity in Filipino culture, is further appreciated for its appropriation of popular literature's sense of the dramatic. I smile at the reason why Ricky Lee chose not to identify the person who pulled the trigger that caused Elsa's death. Do we see a sequel, or shall we say, he wants to have an open-ended question to the nature of miracle? Gee, a stroke of genius, there.
Add this: It also helps that the cable station CinemaOne programs it as its annual Lenten presentation, which means that the film is assured of airplay, year in and year out. A privilege which no other film has.
I asked a few questions to the film's screenwriter to remember how it was made, to shed new light on the film's enduring appeal.
1. Anong reaksyon mo nung hindi gaanong nanalo ng awards sa Pilipinas maliban sa Metro Manila filmfest ang Himala nung unang pinalabas ito? Tapos, more than 30 yrs later, sunod-sunod naman ang papuri ng mga kritiko, atbp sa pelikula, ano kaya ang dahilan?
Medyo disappointed ako noon. At si Nora man. Lalo na’t mixed ang lumabas na mga review. May ila pang review na nagsabing maganda daw ang pelikula, ang depekto lang nito ay ang screenplay.
Kaya siguro mas masarap ang feeling ngayon na after 32 years ay buhay na buhay pa rin ang Himala. it’s the greatest feeling for a writer to realize that something you wrote years ago still affects lives now, and will most probably outlive you.
Kaya siguro mas masarap ang feeling ngayon na after 32 years ay buhay na buhay pa rin ang Himala. it’s the greatest feeling for a writer to realize that something you wrote years ago still affects lives now, and will most probably outlive you.
2. Meron bang nabanggit si Ishmael Bernal tungkol diyan, kung may maalala ka?
Noong nasa post-prod pa lang ang Himala, anxious na anxious si bernal na magustuhan ito ng mga tao. Tanong siya nang tanong kung maganda ba ito, kung worth ba ito the whole trouble. Pero nang mapalabas na ito, he went back to his usual philosopical nonchalance. People can think what they want to think of it, he has said his piece.
3. Pwede mong I-kuwento kung paano naisa-kamay ni Nora ang papel ni Elsa. Kaagad ba niya itong tinanggap; kung hindi man o atubili siyang gawin ito, nasabi ba niya ang dahilan? Gaano ba ka-totoo na muntikanan nang manalo si Nora sa Berlin bilang best actress?
Sinulat ko ang himala noong 1976 para kay mike de leon. That time wala pang casting. Pero a few years later, nang maging desidido na ako (at si Gil Quito, na tumulong sa akin noon sa materyal) na gawing bida ang protagonist, si nora aunor agad ang naisip ko. Nang alukin ng role si nora, di siya nagdalawang isip. Kasi the other day lang daw, napanaginipan niya ang mahal na birhen. hapon ito at di niya malaman kung naalimpungatan lang siya o nananaginip. pero andoon ang mahal na birhen.
According to ishmael bernal, na nakatabi ni jeanne moreau (head ng jurors) sa eroplano, nora lost by just one vote. Ang nanalo ‘yung russian actress. that small girl, sabi daw ni jeanne moreau, she's terribly good!
4. Na-foresee nyo ba ang mga karangalang tinatamo ng pelikula, marami ang dekadang nakaraan?
Alam namin nina bernal na malaking pelikula ang ginagawa namin noon. He kept saying this is going to be a good film. Pero siyempre never mong maiisip na magtatamo siya ng atensyon at karangalan pagkalipas ng tatlong dekada. parang himala nga, nagkaroon siya ng iba't ibang permutations. naging musical. ipinagtayo ng rebulto si elsa sa paoay doon mismo sa burol na pinagsyutingan. may gagawa sa olongapo ng straight play adaptation. may book ako on himala etc.
5. Gaano kalapit ang paggawa ni Bernal sa orihinal mong script? May mga pagbabago ba, o kung meron, maaari mo bang sabihin kung ano ang mga iyon?
Laging sinasabi ni bernal na sa lahat ng mga script na dinirihe niya, dalawa lang ang halos di niya ginalaw---ang nunal sa tubig, at ang himala. hindi ginalaw meaning, kung may mga gusto siyang i-revise, pinag-uusapan muna at ako rin ang nagri-revise. Sa ibang pelikula kasi niya madalas siya na ang sumusulat ng revisions. Maski sa set. pero sa himala, kung ano ang nasa script, iyon. Walang adlibs.
Ideya niya ang dalawang sermon ng pari. pinag-usapan namin, at sinulat ko. gusto niyang abstract ito, philosophical, di maintindihan ng mga nagsisimba sa eksena. Yung walang himala monologue ni elsa sa huli, pareho kaming di pa masaya noong first draft. Pero di namin alam kung paano babaguhin. Minsang dumalaw ako sa shooting, at pinagmasdan ko ang mga extra, ang mga mukha nila, ang mga paghihirap nila, naramdaman kong kaya ko nang i-revise ang himala. ibang-iba ang final monologue doon sa unang draft. Ang natira lang ata ang “walang himala”.
6. Paano ang naging working relationship ninyo ni Bernie kung ihahambing mo kay Lino? May pagkakaiba ba?
Si lino halos isang discussion lang bago mo isulat ang script. then after the first draft idi-discuss niya ang comments and suggestions niya. Pag-submit mo ng revised script halos iyon na faithfully ang isu-shoot niya. With bernal, it’s endless discussions. On philosophy, on existentialism, on social realities. Kung kay lino ang ididiscuss ay specific concrete issues like pagwewelga ng mga manggagawa, ulam na kakainin ng character, kay bernal mas abstract ideas. Gusto ni bernal dialectics. Ano man ang ideya, babanggain namin sa discussion. Hanggang sa tumapon ang mga katas. Iyon, sa mga tumapong katas namin makikita ang bago at mas magandang idea.
7. Sa mga obra mo sa pelikula, paano mo maihahanay ang script mo ng Himala sa iba pang sinulat mo?
I’ve always loved himala, siguro dahil sa tagal ng naging journey nito mula noong isulat ko noong 1976 hanggang sa maproduce ito noon lang 1982, matapos ang kabi-kabilang rejection. Pero mahal ko rin ang moral. Kung dalawa lang ang mabibitbit kong screenplay, siguro iyong dalawang iyon ‘yun. Unless maihahabol ko ang karnal.
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