Matunog ang mga usapang Producer’s Cut at Director’s Cut ng nanalong Best Film sa MMFF this year. Maraming mga sides. Maraming chika. Marami na ring nasabi ang magkabilang panig. Ayoko nang makisawsaw.
Baka ma-extend pa ang re-launching ng action genre sa blogosphere.
But seriously, considering that it was Aguiluz who initially directed the film, I take on the stand of asking for his own version. Knowing his capacity to deliver considerably good films, I believe the Filipino audience deserve to experience his contribution once again.
Though understandably too costly and rigorous at this point, it wouldn’t hurt to take on a stand. If you are on the same page as I am, you might want to consider having your name included in the list of petitioners who are asking for the release of Tikoy Aguiluz’ DIRECTOR’S CUT, be it in whatever form.
You can access the online petition here.
Pero tama na ang ka-seryosohan.
Ang totoo n’yan, sumusulat ako dahil sa kakaibang dimensyong dinala ng pelikula ni Aguiluz.
Ang arte at kultura nga naman; hindi mo alam kung anung maaring gawin sa sikolohiya ng tao.
Kapag Bagong Taon, iba’t-ibang paraan ang pagse-celebrate ng pamilya at barkadang Pilipino. Nandyan na ang nakasanayang Medya Noche. Ang iba naman, ibinubulahaw ang galit at saya sa mga pagpapaputok ng matagal nang na-ban na Goodbye, Philippines. Sa amin, uso ang Grand Reunion. Nabubuo ang angkan ng mga Sapanta sa Laguna tuwing a-uno ng Enero. May mga production numbers, inuman at Bingo-han.
Pero itong taon na ‘to, may bago.
Kilala si Asiong Salonga na galing sa Tondo. Last month, nag-open ang MANILA KINGPIN. Istorya ni Asiong. What more can a Tondo-er do to celebrate his infamous life and historical contribution but have a New Year bash in his era’s memory?
Tondo man, ay may concept din.
Gusto n’yo ng pruweba?
Pwez, brace yourselves.
O. Laban ka? Hindi lang costume ang nagdala ng concept, pati ang production design – sa likod. Anung sinabi ng designs ni Brocka sa mga noirs n’ya?!
The post-war-Manila/Asiong-Salonga-peg can’t be completed without Fedora Hats, white tees, suspenders, checkered or plain white polos with upturned collars and sneakers.
In fairness, sumunod ang mga kabataan sa concept. So much na daw muna sa jeje-theme this year. Art naman daw muna.
At…at…at… sinong nagsabing walang gwapo sa Tondo?!!!!!
Kung tatalasan n’yo ang paningin n’yo, hindi kayo mabibigo.
It pays to look closely to see the diamond in the rough.
Nakita mo na? Kung hindi pa, eto.
Kung hindi mo pa rin “siya” nakita, ay ewan ko na.
I must say, they were faithful to the theme.
So faithful, na ang iba’y kinalimutan ang kasushalan at pagkalalaki nila!
San ka pa? Ikaw nang um-attend ng party na naka-Taong Grasa outfit with matching sakong-may-laman; just to represent the poor post-war Pinoys na tinulungan ni Salonga.
And is that Salonga’s wife, Fidela Kingpin (played in film by Carla Abellana) standing at the third from the left?! Ikaw na ang magsuot ng gown at tiil (high heels) sa New Year’s Party.
Kung hindi ka pa naman manalo ng Best Dressed Award, ay ewan ko na lang.
But on a serious note, this event (considering that it was in Tondo) is a living proof that art imitates life, and sometimes it is the other way around. In the middle of showbiz controversy as to whose cut is better, what these young people did to express themselves and celebrate a memory is evidence enough that our local films still have the capacity to impact our lives, passion and decisions.
In this case, MMFF’s MANILA KINGPIN – THE ASIONG SALONGA STORY (2011) has proved itself worthy of the recognition it recieved in last year’s festival.
Special thanks to Patrick Ching and Mark Mendoza for the photos, and Mother Domeng for the stories.
Mabuhay ang pelikula at kabataang Pilipino.