Once in a while, it becomes serendipitous to come across a Filipino film shown on Netflix that would get one’s full attention and end up being glued until the end. The disbelief somehow lingers after the last credit roll, wondering whether this film was truly made by a Filipino filmmaker. Indeed it was. This is Director Cholo H. Laurel’s latest film opus, “Ganito, Ganyan, Ganoon”.
Watching the film midway was not an initial concern, more doubtful whether or not it will sustain interest in the next ten minutes. Initially, the voice dubbing in English was intrusive, noticing through lipreading that most actors originally delivered their lines in English. Subtitles were running throughout the film. Somehow, peering the scene between actors Jodi Sta. Maria and Gabriel Lazaro walking and conversing in the lush greenery of the idyllic forest indicated a signpost of merit that seemed unfolding. This warranted a benefit of the doubt.
There was a subdued contrast between the two siblings. Both empowered a strained dialogue that unraveled their characters’ idiosyncrasies. There was a sense of tranquility amid the tension. The serenity of the backdrop enhanced the awkward relationship to unlatch more about themselves, supplying a sense of freedom not just to actors but to audiences as well. Thus, this scene augured an innate curiosity to continue watching the rest of the movie.
Right off the bat, Laurel’s well-written script provided a freshly divergent approach compared to other recent overrated run-of-the-mill Filipino dramedies. After a long drought since the second golden era of Philippine cinema, Laurel finally stepped in. The unorthodox treatment of Filipino comedy-drama on world stage is catching up anew. “Ganito, Ganyan, Ganoon” is Laurel’s palpable manifestation with greater cinematic effort to salvage the degenerate era of Filipino films.
“Ganito, Ganyan, Ganoon” focuses on mending broken family relationships and how life’s unpredictable circumstances enable every family member to do their own introspection. Under an anxiety-ridden atmosphere, Laurel capitalized on his stellar cast of actors who portrayed each role with masterly finesse. Casting was precise. There was no small or big role; in fact, the unrivalled dynamics between the cast was the centerpiece of the film.
This is probably Agot Isidro’s most pivotal performance, rightfully embodying the persona of Paz with acuity, firmness, and intensity. The cohesion and steadiness of her portrayal carried the core message of the film from beginning to end without compromising the rest of the cast. From scenes of discord to moments of rapture, Isidro powerfully led the cast with flawless storytelling. In doing so, she allowed the rest of the actors to seize hefty scenes that unsheathed each other’s acting prowess without overshadowing one another.
Jodi Sta. Maria was at her best element, confidently shedding her teleserye trademark and embracing the phlegmatic yet repressed character of Joanne. Sta. Maria has long been associated with lionized dialogues that catapulted her as a teleserye icon, thus the anticipation of the same in this film. On the contrary, Laurel provided Sta. Maria with minimal lines and more instinctive sentiments, maximizing a rare spontaneity of expressing emotions that cleverly depicted her role.
Gabriel Lazaro, a budding musician and a neophyte in the world of acting, pitted well with the whole cast. His North American upbringing worked in his favour, albeit his acting talent was beyond a newbie. His portrayal of a depressed and unguarded Matti captured a relatable oddity of a Filipino interbred. Dealing with Matti’s extreme emotional baggage, Lazaro was able to diminish the loathe with compassion.
Ruby Ruiz radiated a perfect rustic manner that any viewer can comfortably relate to. Unlike other Filipino films that bank on weary and acquiescent elder women, Ruiz carried a tranquil maternal aura that did not obliterate Isidro. Hers rather emanated a loyal and safe overtone that served as stronghold to other characters.
Gardo Versoza, obscured from his usual teleserye disposition, was able to blend his own comedic nature with a rather laidback character that is archetypal in most Philippine bucolic locales. Without exploiting the usual depiction of a rural simpleton, Laurel endowed Versoza a convincing character: unassuming in emotion yet influential in action.
Maya Valdez demonstrated her acting ability well enough to interweave her presence in the turmoil. Also a veteran singer and theatre actress, Valdez personified an aunt who tattled with aegis. Her understated portrayal throughout the film harmonized every moment of confrontation among members of her dysfunctional clan.
The dining table was an exceptional misé-en-scène that captured the whole narrative. There were two compelling scenes: one with all the relatives present; and two, with main characters. The fluidity of their interaction became a gripping revelation of muffled pangs of conscience, rage, desolation, hatred, and deprivation. Laurel potently projected every volatile encounter while utilizing canny camera shots that accentuated these long and poignant conversations.
The role of Angel Aquino served as a reliable confidante to Isidro. Though she only acted in a few scenes, Aquino depicted her character in a sacred and gentle manner, contrasting Isidro’s fierceness.
RK Bagatsing portrayed Sta. Maria’s psychiatrist who, ironically, is desperate to win her love. Medical workers roles are oftentimes negligible. In this film, however, Bagatsing’s part was somewhat stretched in counterbalancing Sta. Maria’s predicament. He tried to veer away from his usual teleserye style; yet short of projecting a far-reaching outcome.
For the most part, Filipino filmmakers tackling stories about family relationships often fail miserably on content and presentation. On top of ludicrous and imprudent writing, they sugarcoat and seep their scenes with screams and wails. Gladly, nothing of that sort in “Ganito, Ganyan, and Ganoon”. Aside from generating sterling performances from the cast, Laurel unfailingly culminated every angst through skillful writing that came with restraint, prudence, and nuances throughout the film.
In the end, voice dubbing proved handy, complementing the totality of excellence that persuaded to watch the film again from the very beginning until the last credit roll. ####