#AngLarawan: not a film review
We Filipinos complain about the sad state of our film industry. But when a good local film comes out it doesn’t get the support it deserves.
Ang Larawan, adapted from Joaquin’s Portrait of an Artist as a Filipino (1952) is as good as it gets.
A friend remarked, “sadyang mababaw daw tayong mga Filipino.”
I don’t agree—I’ve seen artsy foreign films get noticed by moviegoers and receive rave reviews from local film critics.
Perhaps a more acceptable explanation is this:
We lack the education and exposure to Filipino art and history. We limit our children with what television offers (and lately, social media). We bring them to malls and beaches, rarely to museums, plays and art classes.
It is time that we read Filipino literature to our children. Many of our great writers remains unread.
we often hear our kababayan complain about the state of our local film industry. but when a great film comes along, it gets little support. #anglarawan is as good as it gets. the best local film produced in 2017. if you’re a history buff like myself, or a #nickjoaquin reader, you’d understand the inspiration behind the play and its symbolisms.
The late director and National Artist Lamberto Avellano’s adaption (A Portrait of the Artist as Filipino 1965) was snubbed as well when it came out in . It closed after 5 days because of poor attendance. It starred his wife, Daisy H. Avellana as Candida. Like her husband, she’a a National Artist awardee.
Joaquin’s classic first appeared in Weekly Womens Magazine. Before it was adapted to film, the play was popular among theater viewers. It run for 160 shows which is considered the longest in Filipino theatre history.
Avellana was said to have approached Atty. Manuel “Manny” De Leon for support. The LVN boss was curious if Manila would see it—if there was such “intelligentsia” that would see the film. He produced it but they would be disappointed—the film flopped.
Ang Larawan Comeback
I intended to watch the film in SM Muntinlupa. It was pulled from their cinema the day I was about to see it.
The film critics and awards it garnered has put winds on its sails. Now cinemas started showing the film once more (after being pulled out in many movie houses during its first week). I saw in TV Patrol the other day that people has started buying tickets—bravo!
Thoughts on Joaquin
Guillermo Gomez Rivera, who used to play Don Perico (in one performance, a boozed up Joaquin howled and cheered from the audience), told me that the entire play is Joaquin’s interpretation of what happened to identity as people—we had a truncated culture.
“That was the termination of something beautiful (our culture and identity)… we perhaps would never see it again,” Gomez told me. Paula, Candida and the Father, the maestro, died defiant against a fast changing world.
One of my biggest regret was not meeting Joaquin. I would love to pick his mind (but he’s not into interviews I was told). Filipina writer based in Chile, Elizabeth Medina, told me that she once requested for an audience with Joaquin.
“Too bad Nick Joaquin didn’t “pescarme” (hindi ako pinansin) when I called him in Manila in 1997. He didn’t realize, that’s all that I was asking him, to mentor me, that I was genuine. But then it means that he was not meant to be my mentor,” She said.
Seeing Joaquin’s work articulated visually by artists and even students today is personally gratifying. I’ve been a fan for so long that it feels good to see his following grow in number (among my generation and the so called “milleneals”).
My only other wish is that Filipinos dig deeper, contemplate on the message Joaquin conveys through his stories and characters. He is to me, the conduit to our glorious past forgotten.