Académique Documents
Professionnel Documents
Culture Documents
by Emmanuel A. Reyes
Kristina A. Marable
2018-21324
FILM 102
April 1, 2019
TABLE OF CONTENTS
SYNOPSIS 1
Introduction 1
VII. Why Does Somebody Else Have To Tell The Story of Our Revolution? 12
IX. Reviews 13
Snake Sisters 13
Sister Stella L. 14
Kapit Sa Patalim/Bayan Ko 14
Merika 15
Isla 15
The Boatman 15
Virgin Forest 16
Bomba Queen 16
Scorpio Nights 17
Silip 17
Bagong Hari 17
ANALYSIS 20
1
SYNOPSIS
Introduction/Preface
In Notes on Philippine Cinema, Emmanuel A. Reyes looks into what Philippine cinema
for what it is, more than what it could be. The book contains, essays that explore the escapist
appeal of mainstream cinema, reviews for Filipino films released between 1984 and 1986, as
well as an interview with the late actor, Vic Silayan. Reyes discusses the peculiarities of
mainstream movies by discussing the ideas and concerns of movies that are used as examples in
the book. Reviews are written with the focus of finding the film’s main message and how
successful it was on delivering it, rather than the good and bad elements it contains. The last part
of the book contains a discussion of the anomalies and issues in Filipino filmmaking in the
perspective of an actor, in this case, Vic Silayan. The author notes that the most significant
contributor in Filipino filmmaking is its audience more than the filmmaker’s creative decisions.
This essay explains what is form in general, what film form is, and what form Filipino
films have. Form is defined by W. Tatarkiewicz using five meanings – the arrangement of parts,
what is openly given to the senses, the boundary of an object, Aristotle’s conceptual essence of
an object, and Kant’s “contribution of the mind to the perceived object.” These definitions of
form relates to each other and is used in defining what film form is. Film form is a “system of
relationships between elements that function both singularly and collectively” according to film
scholars, David Bordwell and Kristin Thompson. The two subsystems that make up the film
form: a narrative subsystem in which in not literally seen in the film as it is the story and the plot,
and a stylistic subsystem which is composed of the mise-en-scene, the editing, and the sound.
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The film must be viewed in its entirety in order to evaluate it. Another definition of film form
comes from the Manunuri ng Pelikulang Pilipino and Bordwell and Thompson, that a film is to
be judged by its content, more than its form. However, these two must come hand in hand in
order to create meaning in a film. Meaning does not to be said out loud within the film, as
expressions of an actor’s face can do it justice. The cinema utilizes meaning in an ideological
manner, not neutral. It comes from cultural beliefs on the perception of the world. As films
Film movements such as Expressionism from the Germans, montage from Russia, and Italian
Neorealism, came and went, but the classical Hollywood cinema which emerged in 1903
remained and succeeded in capturing the world market. It has a strong emphasis on its narrative
with the underlying thought of it as a form of entertainment. The classical Hollywood cinema
would hinge its narrative development on individual character actions. These actions are
motivated by a desire to achieve something by the protagonist and the antagonist. The opposing
characters are then met at a conflict to move the narrative forward. The conflict is resolved
through a cause and effect chain, giving emphasis on the important aspects of linearity and
clarity. The film ends when the protagonist achieves his goal. In developing the narrative, each
decision is guided by logic and decision, which is followed by every element present in the film.
Criticisms often faced by Filipino movies is its failure to successfully pattern itself
according to the style of the classics. These are then seen as “flaws” due to its deviations against
the Western structure. This is because the mainstream Filipino film is definitely different from
the classical narrative. It has thinner plots, weak on logic and motivation, and predictable; its
narrative structure is untethered and easily deviates from its main idea. Filipino film is also very
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escapist in concerns. These then go against the so-called “rules” of the classical narrative, which
in the end, is seen as “flaws.” Reyes disagrees as these should be considered as traits, because no
matter how appalling how Filipino films could get, these have done well in the eyes of the
The form in the Philippine cinema is determined by both creative decisions and
pragmatic ones. The latter includes the production using less raw materials, the local market size,
and the absence of pressure on quality. The Philippine mainstream cinema then manifests four
narrative. Filipino films focus more on dramatic expositions, rather than the analytical problem
solving aspects. Alongside that characteristic, Philippine cinema has the tendency to literally
portray everything. From its mise-en-scenes to its character’s attributions, everything is put
together in its simplest, most obvious manner in order for the viewer to easily comprehend what
is happening in the film. Another characteristic is that films contain circumlocutory dialogue as
opposed to the direct dialogue of Hollywood cinema. What this does to a scene is to extend it
rather than bring the narrative forward – too many words are said for something so simple. The
last characteristic Reyes points out is the centrality of a star. Instead of praising actors in their
ability to portray a character so truthfully on screen, Philippine cinema gives more attention to
actors who can play themselves on screen. Scripts are made to fit them, not for the star to fit the
If changing the form of the Philippine cinema is desired, one must take in consideration
these present factors according to Reyes: the “current industry practices, the state of education in
the country, the prevailing economic conditions, even the notion of contemporary mythology.”
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These contribute to the influence on what the viewers should expect to see. A film evolves in
This essay talks on how Philippine cinema is often criticized unfairly by our own film
critics as they follow criteria from other film scholars from abroad. Films from the West are
different from the ones produced here as our concerns – the quality of education and the
available resources – are different from theirs. With that being said, the standards set by Western
scholars should not be applied in Filipino films as they are likely to be viewed as flaws, instead
of characteristics which particular to our own cinema. If these persist in Filipino film criticism
and cannot deal with the peculiarities of our own cinema, then these should be evaluated from a
Myths are widely held beliefs which are often rooted from stories from the past, but they
still exist today. The myth as defined by Roland Barthes as a form of speech that expresses a
concept or idea. This definition then exemplifies movies as propagators of myths. Movies reflect
deals with multiple aspects of society, such as economics, religion, sexual norms, and more, thus,
giving multiple functions to the existence of myths. Yvette Biro sees “myth as aversion and wish
fulfillment.” Movies then portray what we aspire to be, and show what we fear. One of the myths
ingrained in cinema is that movies construct values, though, values exist unconnected to
experience. Values then are not made from movies, but rather, are reflected in them. Another
myth is that Philippine movies will soon evolve into a form akin to American. However, this
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does not seem to be a possibility as Filipino film as it is, and as it was, has been widely accepted
Renato Constantino complains about the effect of Philippine cinema focusing on fantasy.
It gives the audience an impression of a false reality, steering away from the truth of what life is.
What happens in films is that it produces unreliable values which are only attractive more than
they are practical. Here it is seen that the role of society is significant in Filipino filmmaking,
that progress within it is an absolute necessity in order to see such in our films.
In this essay, Reyes comments on how using themes, message, symbols, and realism, as
reasons in determining whether a film is good or bad is a myth. These standards are not attained
by many important films, as these cannot be used to judge them. If a film were to be judged on
its theme, the film is then reduced to a simple subject matter. It fails to include the details in the
development of plot and character. On message, it cannot be used as a standard to evaluate a film
as all films have a message, to be more precise, have multiple messages to convey. These are
used to shape the perception of an audience. To use symbols is problematic as well, as it can be
realities. It is a matter of consistency throughout all films. Lastly, to resort to realism is pointless.
All films are make believe, they are only impressions of reality, not reality itself.
This article explains the strong female role in melodrama, seeing that women are given
roles that go through a lot of suffering, yet emerging victorious in the end. At the time in which
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men and women started to receive their individual lead roles, film narratives had already shifted.
Men and women were no longer seen as level-headed characters in film, as one takes the lead
and the other, the supporting role. Strong male leads are the central figures of the action genre,
whereas strong female leads, melodrama. The role given to women suffer greatly on their way to
overcoming their problems. Although, this genre justifies the suffering woman as a consequence
of having female desires in a patriarchal society. Komiks melodramas uses the success story to
emphasize this very desire and its consequences in the patriarchy. This kind of story deals with
five concerns: luck or suwerte, success is synonymous with material wealth, suffering is good,
poverty is a given, and crab mentality. Luck or suwerte allows these movies to portray that
success in life is only attained if one were lucky rather than hardworking. In these movies,
character transformation is favored over character motivation. In order to measure one’s success,
it is through what she owns. Through these films, success is synonymous with material wealth –
humility is not taken account of. Being that the Philippines is heavily influenced by catholic
beliefs, it is seen that suffering is good. These movies glorify a character’s suffering, and the
character herself does so too, because it is known that suffering in here means for a reward in
heaven. Characters in these films never question their poverty, as poverty is a given. Political
issues on this topic is never raised to make way for the fantasy elements of the story. Lastly, a
very Filipino characteristic, the crab mentality is present. When the protagonist is seen to aim for
success, her peers put her through hardships to slow her, or to simply take her down.
The suffering in these movies are due to the present social conditions such as the low-
quality education, the division between rich and poor, and, the shortage of decent jobs, mirror the
existing reality. In order to create a positive change in how cinema examines society, it must first
This essay sees the action hero in the Philippine cinema as a man who takes matters into
his own hands being that the legal system and the people in control of it cannot be depended
upon. The action genre is violent, borrowing elements from Western movies, detective dramas,
war movies, and martial arts thrillers. The hero of this genre is what the common citizen who has
realized the corruption in his society aspires to be. With the corruption of society, the hero
usually operates outside of the law. He hero believes in his own definition of justice, which he
makes known through his violent actions. Oppression is what begins the narrative of the action
genre – the hero goes through some kind of torture but is not killed, and later on hunts down his
The action genre implies that law enforcement is associated to brutality. The transgressor
would rather die fighting than to surrender to the cruel system. On the other hand, the enforcers
would rather kill a suspect than give him a chance of life after prison. These are the two types of
action heroes – the one against the law, and the one on the side of the law.
In this genre, there is the tendency of arresting the plot development in order to make
way for scenes that contain physical combat. The narrative is put to a halt for these scenes of
violence. The role of women in these films are often limited to girlfriends ready for sex, or bad
girls looking for men. Protagonists in the action genre have the privilege of sharing their
criticisms about society. Despite having issues presented in action films, these are often resolved
comedy roles as it is the only image that is acceptable to the Filipino public. The tolerance for
homosexual behavior depends on his ability to make himself useful. His use in film is then to
entertain, and is accepted by the heterosexual and the morally upright from having to deal with
the controversies of homosexuality. Homosexuals are limited to comedy roles because of the
humor they can bring through their ridiculous actions as compared to heterosexuals, which then
makes them a target for their hostility. His suffering allows for the release of real life rage and
must be repressed according to Philippine cinema. The narratives of the gay comedy then are
structured around the idea of discovery and persecution. Jokes are based on 1. the parents
unacceptable to their son’s sexuality, 2. the uncontrollable sexual urge of the homosexual, 3. the
incapability to discipline them and are seen as a threat, 4. the cure for homosexuality are women,
and lastly, 5. the defiance of social conventions by homosexuals allow them to say outrageous
remarks.
This image of the ridiculous gay is promoted by many homosexual writers and directors.
It is odd as a more sympathetic image would have been expected, being that gays are already
involved in filmmaking. There is a distinction between comedy films that include homosexuality
and gay cinema, as pointed out by Nic Deocampo. Deocampo explains that true Filipino gay
cinema must be able to challenge society using the issues that directly deals with the political and
social dimensions of homosexuality. If gay cinema is able to confront society and overcome its
The text examines how fame can lead to the death of a star. In the industry of Philippine
cinema, fame comes with immense responsibilities that goes beyond having skill in the art. A
star is then responsible for making money, fulfilling expectations, and surviving rumors and bad
working conditions. In order to make money, stars are seen as mere commodities for the
consumption of the public. New stars, if they are deemed worthy, become investments of
producers. The money is spent on publicity, marketing their stars through a “Know Your Idol”
type game, as well as spreading gossip. The latter scheme has proved to be problematic as some
individuals kill themselves due to the horrendous rumors going around. Stars are completely
succumbed to the public. They sacrifice their private lives in order to fulfill the expectations the
public has set for them. In terms of our own cinema, a star must also be able to resolve problems
that arise during production. They are forced to deal with harsh working conditions, all while
being expected to provide a good performance. With all those, it is concluded that the viewing
According to Reyes, what attracts audience to komiks movies is its focus on the
dramatization of its conflict, rather than its exposition. Komiks movies derive their narratives
from popular Tagalog comic book serials. There is a huge variation in the types of stories komiks
would convey, however, the term “komiks movies” is almost exclusively referred to the
melodrama. The komiks melodrama is an entire subsection of its own that has the ability to
sustain an audience despite its predictability. This can be understood by these three aspects: the
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narrative as a dichotomy, the use of women as central figures within the narrative, and the
elements of conflict as these are simply opposites of each other. Each element must be able to
define the basic conflict of the story. To express such dichotomy, komiks movies are very literal,
Melodramas were made for women, telling stories from their point of view. The komiks
melodramas had themes on female fantasy and repression. The women in these movies had the
goal of finally putting one’s foot down as an individual, breaking away from traditional roles
Conflict in komiks movies utilize two different levels. The first is when conflict rises in
the attempt of the poor to be on equal footing of the rich, and the second is when both parties are
Komiks melodramas, in terms of its qualities, still need to be explored. Komiks movies
have the ability to present our society’s preoccupations and prejudices. It is a style of storytelling
Reyes raises the question, “does political repression make good cinema?” as he
recognizes that films made during the oppressive reign of Marcos were greater than the ones
being made in the liberal reign of Cory Aquino. The Mannheim International Filmweek in
Germany shows much interest in presenting independent works. Films dealing with political
issues would become successful in the festival. In 1986, the Philippines had two entries: Lino
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Brocka’s Bayan Ko and Tikoy Aguiluz’s Fr. Balweg: Rebel Priest. These two films reflected the
great political shift from a state of political repression to a state of democracy. With such a great
shift, Mannheim observers were disappointed as to how it failed to level up to their expectations.
Filipino filmmakers have no excuse in turning out mediocre films because of the freedom that
the country has fought for. Filmmakers must take this opportunity to create movies that tackle
the present state of the Filipino instead of producing fantasies that do nothing but waste our
resources.
This essay discusses how the image of the Filipino is realized in American cinema as
savages, and how the Filipinos themselves revere their pictures as the truth. This is because
anything that differs from the norms of the West are instantly deemed as primitive and barbaric.
Filipinos allow this situation to occur for the mere idea of foreign exposure. We must create an
image that is true to ourselves, not one that is generated by a country not our own. The sinister
oriental is simply how Hollywood implies this stereotype that Third World countries are evil,
threatening, and anything but nice. How we see ourselves also plays a factor on the images
portrayed in foreign film. If we see ourselves in the notion of suwerte, pagkamartir, and ganti,
these will not bring any progress to a more accurate portrayal of a Filipino in film. Lastly, it is a
matter of confidence. Filipinos must be proud of our own culture, only then will they be
VII. Why Does Somebody Else Have To Tell The Story of Our Revolution?
Reyes deems it unnecessary and impractical for a country other than ours to tell the story
of our own revolution. As the political state of the Philippines shifted out of a dictatorship,
filmmaking had failed to react to the events before, during, and after that very period. Although,
it is naïve to think that foreigners are doing us a favor by telling our story. In the end it is only
for their financial benefit. Having an outsider tell the story of our revolution may result to false
representations of the country and the people in it. Only our own can truthfully tell our story.
Relying on foreigners to do so will never gain us respect as a nation. The Filipino must fight
This essay discusses is that the aesthetics of the short film has the capability to mirror the
society in which the filmmaker belongs to. As longer films require each element to contribute to
the understanding and the development of the story, short films are unable to do so due to the
time constraints. Instead of following the practices of the classic narrative, the short film must be
able to exhibit new ways of presenting visual ideas. Such allows the short filmmaker to break
previously imposed rules on the art. He must have the courage to defy society’s conventions and
beliefs. The society should not limit the role of an artist, but instead, encourage him in his
endeavors. Short films allow a film artist to exercise his right of self-expression. Society must
not hold the filmmaker back because through his works, it is where the identity of a society is
reflected upon. Film as an influential medium uses its power to encourage people to think. Thus,
society must allow the film artist to produce his best works. He will be able to do so through
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support and attention to his work. His achievements as an artist will ultimately influence our
perception of cinema.
IX. Reviews
The author reviews a few significant Filipino released in 1984 to 1986, a period of a
struggling government to justify its excesses in the form of the Manila Film Center, and abuses
of a corrupt economy. Despite censorship laws, bold Filipino films were shown exclusively in
the Manila Film Center. With that, numerous bold films were produced and escaped censorship
without a problem. Conversely, films that had more substance, although less flesh, had difficulty
getting through the board of censors. Action films also meddle with Martial Law. Philippine
cinema still managed to turn out a few good movies despite the deteriorating economy.
Interestingly enough, when the dictator had fled the country in 1986, no films touched on the
When Sex Becomes Irritating – Snake Sisters (1984), directed by Celso Ad. Castillo
Celso Ad. Castillo’s 1984 Snake Sisters, is criticized by Reyes as a misguided idea. The
idea was a reimagination of the Bible’s tale of the snake in the Garden of Eden, where the
forbidden apple is replaced by sexual intercourse. Beyond that, the film lacked a plot. Reyes
notes that Castillo showed no improvement from his 1971 film, Nympha. The director’s
aesthetics equates realism with visuals that are downright gross and repulsive.
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How Not to Eat Bullets – Kapitan Inggo (1984), directed by Jose Yapoco
Reyes comments on Ramon Revilla’s Kapitan Inggo (Kumakain ng Bala) (1984), for
having too many faults, mainly due to the director’s obsession over violence and gore. Utilizing
the myth of the anting-anting, a format that is nothing new to Revilla’s films, he continues to
cash in on yet another epic, even latching on to his disregard for finer details in filmmaking. The
anting-anting allows his character’s body to bounce off bullets, and to attain power over life and
death, as well as immense strength. Many scenes feed Revilla’s gore obsession which takes over
the story, and even compromise the quality of the film in its acting, dialogue, editing, and music.
Reyes claims that Mike de Leon’s 1984 Sister Stella L. is a landmark event in Philippine
cinema. It is a film for each person in the production, made possible by Mike de Leon’s
direction. Reyes praises each person involved in each element of the film for their outstanding
works. Sister Stella L. is proof of innocence lost between the country’s years of submission and
reawakening.
Lino Brocka
resolves to crime as society continues to oppress him – his decision to do so is difficult to accept
according to Reyes. It is his indecision brings him to turn to crime, going against his initial belief
of being able to make a living without breaking the law. The result is from his character’s pride
15
and stubbornness more than it is from his circumstance. The film does not settle an issue, but
Tender Effort: One from the Heart – Merika (1984), directed by Gil Portes
Reyes forgives the little flaws in Gil Portes’ 1984 Merika, realizing its efforts in
portraying the Filipino worker in America. The film is able to evoke an image of loneliness that
is uniquely felt by the migrant Filipino. It is a feeling that cannot be fully expressed, nor could it
be relieved entirely. This sad feeling is invoked in each element introduced in the film. Acting,
Guts and a Body Wide Open – Isla (1984), directed by Celso Ad. Castillo
Maria Isabel Lopez plays the main role in Celso Ad. Castillo’s Isla (1984), and is pointed
out by Reyes as having exactly what it takes to make it in the movie industry – “a lot of guts and
a body wide open.” The movie is neither bad or good, it is simply coherent. The most humorous
moments of the film happen in its dramatic points. Moreover, the film can be simplified as to
whether or not one can survive a lustful encounter with the actress. It is only Maria Isabel Lopez
The Boatman Sinks in the Swamp – The Boatman (1984), directed by Tikoy Aguiluz
The Boatman (1984) directed by Tikoy Aguiluz is said to take advantage of every
element that is set out to condemn according to Reyes. It is unable to rise above what it reveals
on the moral disintegration and the filth of the Philippine culture. These revelations are used to
cater to the paying audience, rather than challenge their way of thinking.
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Peque Gallaga’s 1985 Virgin Forest is based on a historical screenplay, however fails to
enlighten the audience on the happening during that very period. Reyes’ points out that this could
have been a great film if it were to follow the historical facts it stems from, as well as give
emphasis on the major figures of the story. It gives a false perception that history is merely
Why the Bomba Queen is Sick – Bomba Queen (1985), directed by Efren C. Piñon
Reyes critiques Efren C. Piñon’s Bomba Queen (1985) for being neither fact or fiction –
it is an odd mix of both. The director and producers of the film fails to realize what the film is, if
it were to be truthful or if it were to be fictional. This brings the history of the actor, in this case
Nida Blanca’s Acting Worthy of High Praise – Miguelito: Ang Batang Rebelde (1985),
Nida Blanca’s performance in Lino Brocka’s 1985 Miguelito: Ang Batang Rebelde
claims that it is worthy of high praise as her acting is both moving and expressive. Her
performance was so effective it need not verbal dialogue. Blanca presents a captivating
character, which she has never revealed before. She uses her eyes to bear her emotions to the
audience. Her ability to take risks in her character creates a distinct style, which is both natural,
yet it is daring.
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Reyes views Peque Gallaga’s Scorpio Nights (1985) as a confirmation to the trend of
local movies creating bold films in response to low theater attendance because the film is simply
just about sexual intercourse. The film portrays the kinkiest of kinks, showing shocking scenes of
lovemaking which are justified in saying that it is art. Gallaga is able to direct the story in a
manner slightly different from others, however it succumbs to more intercourse. This brings
about the characters’ weak motivations, being seen as people who would die without sex. There
In Elwood Perez’s 1985 Silip, Reyes contributes the film’s worth towards its shock value.
Elwood’s comeback with Silip after Till We Meet Again in the previous year in itself shocked the
viewing public. Beyond that, he put together the biggest sex icons, put sex in open desert sands,
and put bizarre moments in the film. It is these shocking elements of the film that make up for its
It’s Difficult not to like Bagong Hari – Bagong Hari (1986), directed by Mario O’Hara
Reyes claims that Mario O’Hara’s Bagong Hari (1986) is difficult not to like because of
its powerful images. It contains striking compositions, expressive images, and even calls for
visual excitement.
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Olangapo, the Film, has Nothing New to Say – Olongapo: The Great American Dream
Olongapo: The Great American Dream (1967) is directed by Chito Roño which, as it is
technically a good film, falls short on its ability to pursue a new message on the city it is set.
What the film could have done is attack the people responsible for the moral decay of the people
in Olongapo. Instead of doing so, the film ignores to cut those people of, and sex trade becomes
more lucrative. In essence, the film had nothing new to say about the existing prostition in
Olongapo.
This chapter is an interview with the late actor, Vic Silayan, by the author. In their first
meeting, Silayan had shared details of his experiences in the Second World War, as well as
working in the movies. Their succeeding meetings allowed Silayan talk about his feelings about
performing and creating characters. Their last meeting together would be three weeks before
Silayan’s death in Kidney Center. Silayan had been suffering through heart problems, and even
in the hospital in his weak state, he still had managed to talk to Reyes on the films he had
watched as a young boy. The actor passed away on August 30, 1987. An edited version of the
He discusses his early life – his family, his education, and his first encounter in the
performing arts. He then talks about his career on the radio, a majority of which was spent as a
radio producer and announcer in DZFM. Leaving his radio career in order to earn more money,
he lands a corporate job. He then explains that his old friend, Lamberto Avellana, bumps into
him one day and asks him to give movies a try. Avellana brings Silayan to LVN, and his career
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as a movie actor thus began. During the beginning of his movie career, he had worked with
Gregorio Fernandez who wanted him to become a major movie star. Another great director he
had worked with was Gerry de Leon who he praises for his distinct craftsmanship towards the
camera.
profession, taking it as serious as any other profession there is – he prepares for his job, studies
his characters, and carefully listens to his directors. On kissing scenes, he views it as a part of the
profession and nothing else. He is concerned with his technique rather than his personal feelings.
Reyes questions Silayan on his role as a deranged policeman in Kisapmata. The actor admits that
he initially wasn’t keen on his character and he simply just did his job as an actor. He had also
had many opportunities to work on foreign pictures, in which he is proud to say that Filipino
actors can compare with ones of the West. Lastly, he discusses surviving as an actor. He points
out that there are many difficulties in becoming an actor, mainly that it cannot be a surefire way
ANALYSIS
Philippine cinema is and how it should be examined. It contains essays, reviews, and an
interview to explain such concept. Emmanuel A. Reyes wrote and published this book during the
Philippine cinema’s Martial Law and third studio period (published in 1989).
The films being produced and released during the time of the making of this book was
after the Philippine cinema’s period of independent producers (1961-1972). The industry was
filled with studios catering to the masses, focusing more on the money the film would make,
rather than what it could do to contribute in the progression of the society. What Reyes does in
this book is criticize the critiques from our own country, of our own cinema. He gives clear
explanations on how to view Filipino film in a local perspective by not comparing it with other
cinemas abroad, recognizing its distinct traits, and giving an inside look of the local film
industry.
insightful account on how to evaluate Philippine cinema using its own unique characteristics. His
points are reasonable being that he realizes the common criticisms of our country’s cinema,
recognizing patterns from past films and the differences of our cinema against the Western
cinema. He believes in the Filipino filmmaker to leave a mark in our country’s cinematic history,
The book begins with an introduction to form in film. This allows for the reader to get
oriented with what a film is composed of. It describes its form in a general perspective, that is
David Bordwell’s concept of classic Hollywood cinema, and in a local perspective, that should
be uniquely our own. The scene-oriented narrative, the overt representation, the circumlocutory
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dialogue, and the centrality of the star are traits not present in Western cinema, so they are often
seen as flaws. Reyes emphasizes that such difference should not be the way to criticize Filipino
films as our cinema’s form is different, then so should our criteria be as well.
These contrasts are then recognized are traits, bringing the writer to explain some
misbeliefs of our own cinema. He identifies them as myths. There is a wrong belief in evaluating
a film according to its themes, messages, symbols, and realism as Filipino films would have
difficulty reaching those standards. The treatment of women in melodrama suffering has no
relation to success, but only luck does. In the action genre according to Philippine cinema, one
man committing violent acts is seen as the hero of society. Another myth is that comedy genre
films with homosexual concepts constitutes gay cinema, however the two are completely
different things.
giving the readers a more in-depth look of the industry. He allows the reader to know what it
takes to become a star, how fame requires much more than skill in the art. The appeal of the
komiks movies, despite its predictability, still has the ability to attract and attain an audience
because it is a mere reflection of society. Reyes also points out that during the time this book was
written, barely any good movies were being produced. It was odd, or disappointing, rather,
because by this time, the political system had turned around – filmmakers were freer than ever.
The Filipino filmmaker missed the chance of creating a movie on our own revolution, allowing
other foreigners to do it themselves. The image of the Filipino has been contorted into some form
of degenerate as we simply allow people to speak for ourselves. He encourages the Filipino
society to allow an artist, specifically the Filipino filmmaker, to do his best in all his works
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despite it going against societal standards. Only then will movies be perceived differently, and
In all of the reviews included in this book, he applies everything he had written in the
previous essays. The criteria in which he expounded throughout the book, using the local
perspective and seeing the film for what it is, is utilized for his own critiques. Some may be
The book closes with an interview with the late Vic Silayan. Through this interview, he
offers another perspective inside the industry of the local cinema – an actor’s point of view. He
states that his difficulties as an actor are unique to, or just most prevalent, our own cinema. This
is mostly due to the lack of scripts and heavy reliance on the actor to provide what the director
Through this book, readers will be able to open their minds to the realities of Philippine
cinema – that it is uniquely ours, completely different from the others (specifically, the Western
cinema). Reyes truly believes in the ability of our Filipino filmmakers to create progress in their
films and contribute to the progression of society. What the book lacks, if anything, is a
comparison to other cinemas from nearby countries. A general Eastern perspective may have
added more insight to what and why the Philippine cinema is what it is. Nevertheless the book
provides eye-opening revelations as to how Filipino films are viewed and how it should be
viewed. Notes on Philippine Cinema gives pride in the local film industry, pointing out its own
characteristics and how both film and society go hand in hand in what kind of films will be