DANIEL Padilla and Kathryn Bernardo should thank San Marino Corned Tuna. Since they’re the new endorsers of this trusted brand, they suddenly became very visible on print and TV. “Yes, kabi-kabila ang publicity nila at pati writers na identified sa AlDub, sinusulat na rin sila,” says one newshen. “Tapos, ang exposure nila sa TV in the 'I Found My True Love' in San Marino TVC, grabe rin. All because of their endorsement.”
No doubt all this would help their new movie, “A Love Untold”, which they filmed on location in Barcelona, Spain, with Olivia Lamasan directing. This is said to be their most mature outing so far and their way of saying goodbye to their pa-cute teeny bopper roles. “Marami pa ring kilig moments,” says Daniel. “Pero mas seryoso ang atake para may transition at maging sakto sa edad namin ngayon. Kasi, let’s face it, we’re not getting any younger. Five years na rin ang KathNiel loveteam namin, so dapat lang na we have to level up.”
We heard that they’ll have a real lips to lips kissing scene this time, not a “daya” one like what they usually do. “We won’t reveal anything dahil ayaw naming ma-preempt,” says Kathryn. “Basta abangan nyo na lang. Exciting.”
But are they really eating San Marino Corned Tuna? “Of course,” says Kathryn. “Doon sa TVC na pinapakitang kumakain ako ng tuna nila, totoo 'yung shot, sarap na sarap talaga ako.”
“Hindi naman kami mage-endorse ng isang produkto kung hindi okay,” adds Daniel. “Ang San Marino Tuna, sobrang sarap na, very healthy pa.
A STAGE ACTOR'S DILEMMA
THE original musical play, “DOM: Dirty Old Musical” is supposed to open on Music Museum on September 1 and will be shown for two weekends up September 10. The cast includes Robert Sena, Ricky Davao, Nonie Buencamino, John Arcilla, Michael Williams and Ima Castro.
But what’s this we hear that a male member of the cast cannot rehearse because he is feeling dizzy when they do their song and dance numbers? “Pasensiya na, may vertigo ako,” he says.
Considering that they have time constraints since the show will open soon, does this mean he would have to be replaced by someone else who doesn’t have vertigo?
NOVA FROM COMEDY TO DRAMA
NOVA Villa is the first to admit she’s not a drama actress as she first became known for making people laugh in TV sitcoms. “But here I am, doing a very dramatic role in ‘Sa Piling ni Nanay’ as Donya Matilda, ang grandmother na sabik sa kanyang apong si Maya,” she says. “Ang dami nang luhang pumatak sa’kin dito mula noong biglang mamatay ang anak kong si Benjamin Alves at nang tangayin ang anak niyang si Maya ng surrogate mother nitong si Yasmien Kurdi. Pero enjoy naman akong magdrama. Ibang klase rin ang fulfillment na ibinibigay nito sa akin.”
This week in “Sa Piling ni Nanay”, Matilda succeeds in getting Maya from Yasmien. “Pero ang hindi ko alam, sobrang palihim na pinagmamalupitan pala ni Katrina Halili as Scarlet yung bata. Sinasaktan, ikinukulong sa toilet, kaya sobrang takot sa kanya si Maya. Si Yasmien naman, ayaw naming payagang makita uli ang bata para hindi na ito ma-confuse. Ayun, inabot ng ulan sa daan, nag-collapse at naospital. Dadalhin ni Katrina si Maya sa Boracay, pero naisahan siya nito dahil nakapuslit ang bata at nakatakas. Kaya lang, napasama naman ito sa isang protest rally, nagka-stampede, natapak-tapakan so walang malay nang makita ni Yasmien at dinala niya sa ospital. Doon namin sila nasundan at siyempre, ayokong alagaan ni Yasmien ang apo kong nagka-fracture sa paa.”
MOVIE REVIEW: TUOS
JUST like ‘Kusina’ of Judy Ann Santos which comes out as a filmed play, Nora Aunor’s “Tuos” is also an art film that will cater to a limited and special audience of serious film aficionados. It’s likewise told in a stylized manner, combining live action with animation and shadow play. Written by Denise O’Hara and directed by Derick Cabrido (“Children’s Show”), “Tuos” is about an ancient tribe deep in the hinterlands of Panay (not specified whether it’s Antique or Iloilo) where a “binukot” princess is chosen to be the keeper of their tribe’s chants and dances. She’s like a nun who has taken a special vow and serves as the sacrificial offering who protects the tranquil life of their people from an evil spirit with whom their ancestors made a “tuos” or pact several generations ago.
The current princess, Pinailog (Nora Aunor), is now old and she is grooming her granddaughter, Dowokan (Barbie Forteza), to be her heir apparent. Both of them are treated like royalty, patiently served by the respective ladies in waiting assigned to them, Mayhoran (Flor Salanga) for Pinailog and Anggoran (Elora Espano) for Dowokan.
The conflict is in Dowokan’s resistance in following her grandmother’s footsteps. She doesn’t believe in the traditions being upheld by Pinailog and she doesn’t see herself growing old sheltered and secluded like her grandma. This is because she has found love in Dapuwan (Ronwaldo Martin), to whom she has surrendered herself. Because of this, Pinailog gets mysteriously ill and Dowokan realizes that it’s because she defied tradition and didn’t honor the pact that’s supposed to appease the malevolent spirit.
The narrative is aided by some beautifully animated sequences combined with shadow play, telling the story of the tribe’s ancestor who fought the evil spirit. It is told in a haunting chant (voiced by Banaue Miclat), about the epic saga of Tikum Kadlum that’s part of the oral tradition of the Panay Bukidnon tribe, as mentioned in the end credits.
Mainly, this is about an enchanted dog who serves as a guide in the spirit and real world, giving the film a magical touch of whimsy and mysticism. He warns his master, Paiburong, not to cut down the magical bamboo tree in an enchanted forest but his master doesn’t listen to him, resulting into the monster coming out to threaten them.
Ultimately, the film is about the old and the new, tradition and modernity in conflict, with young people today no longer really caring for ancient traditions that they feel have ceased to serve their original purpose. Barbie Forteza says she’s just playing a supporting role, but it’s not true. She and Nora Aunor both play lead roles as the main protagonists.
Nora’s Pinailog requires her to wear a long gray wig that reaches up to her hips. Her character is mostly quiet, controlled, but she stands out in the scene where she is required to do a traditional native dance very convincingly. After this, she gets sick and is shown mostly lying down or being carried, until her final transformation in her last scene where it is inferred that she has realized that old traditions may be allowed to wilt and die for life in the present to go on.
In contrast, Barbie’s Dowokan is more volatile, more intense, more human. She manages to match Nora’s restrained portrayal every step of the way and even has a love scene to boot to show her rebellious ways (although a very harmless one for a wholesome teen star.) Barbie is so fortunate to be part of this project which will surely boost her filmography.
Although some questions remain. If Nora was allowed to marry and have her own kid (Barbie’s mom), how come Barbie is forbidden to do so? And if Barbie was reared to be a binukot from childhood, where did she get all the modern ideas she has in her head, including the modern dance movements she’s showing off to some friends?
The film is very good in orienting us on the exotic rituals of this indigenous community and it's quite handsomely mounted with first rate technical aspects. The production design is laudable from its costumes to its choices in the forest primeval settings. The cinematography by Mycko David captures the pristine beauty of the mountains in a drone shot while Nora is inside a big “tiklis” being carried down to the hospital in the city below. There are also well-lighted meaningful mirror shots that highlight the main characters’ thoughts and emotions as they converse. This should be a companion piece alongside another Cinemalaya entry, “K’na The Dreamweaver”, to help introduce viewers to our ethnic people.