From the rural landscapes to the computer generated images to the very
treatment of the story, Ang Kwento Ni
Mabuti reminds me of Zhang Yimou’s films. Not the big, action flicks
that like Hero or House of Flying Daggers, but the more
quiet, thoughtful ones like Not One Less
and The Road Home.
Set in a rural, mountain
village in Nueva Vizcaya, the film directed by Mes de Guzman is entirely in
Ilocano. Nora Aunor plays the title character who is a farmer, a mother, and a
grandmother. She lives with her ailing mother as well as her four
granddaughters, while her children are away, working in other parts of the
country. Theirs is a very feminist household. In their village hut, everything
is right in the world, despite conditions being far from the norm.
The film opens with what
seems like a painting of a rural landscape. But it is a scene of daily life
with neighbors passing each other on the mountain pass as they go about their
business. They exchange greetings, then go on their own. Yet, there is
something brewing that keeps us wondering until we go back to the same scene
later.
Despite the seemingly
romantic countryside, cracks on the surface are slowly revealed as, not
surprisingly, there are many financial problems that Mabuti tries to keep to
herself and manage on her own. Not only is she a pillar for her family but also
the village. A local hilot (village healer), various men and women come to her
to ease afflictions. She helps without asking for payment in return. Overall,
she is a person who lives up to her name, seemingly beyond reproach.
Yet, de Guzman’s film does
not subjugate rural life to city life. In fact, the cinematography highlights
the lush beauty of the mountainside as opposed to the dirty streets of the
city; the serenity of the village vis-à-vis the confusion of the provincial
capital. When Mabuti ventures to Bambang to find redress, she instead brings
back with her conflict. The film also touches on rebellion and crime that
shatters their very delicate existence.
Mabuti suffers a crisis of
conscience after she comes upon a bag of money—millions of pesos, at that. She
is torn between surrendering it to the authorities and using it to solve the
problems that her family faces. Every painful step, the audience takes with
her.
The setting and elements
of nature are also characters in the movie. It may be a revelation to audiences
in the city about just how difficult daily commute can be for people who live
in the villages: from long, precarious paths to jeepneys and buses breaking
down. Mabuti is the Everyman, making ends meet and subsisting in a world that
is ever-changing and somehow, she cannot keep up.
The character of the
village captain exudes a caring, benevolent persona. However, behind closed
doors, we find out that he runs the local illegal gambling operation. Also
behind closed doors, the elderly women, Mabuti and her mother, hide their
discussions about what to do with the money.
Nora Aunor is flawless as
the lead character. It is in the quiet moments without dialogue that her face
reflects, at different times: joy, anguish, masked frustration, and utter pain
on her face. She has truly mastered the art of acting, not only with her eyes
or facial expressions but even with her gestures and gait.
Arnold Reyes, as
Mabuti’s wayward son, admirably avoids playing a stereotype. Mara Lopez shows a
depth beyond her youth as a single mother who yearns for love. Sue Prado as the
desperate mother Nelia is haunting. So much so that despite her limited time
onscreen, she leaves an indelible mark until the end. Ronald Caranza, as the
source of comic relief, displays excellent comic timing. Ama Quaimbao’s single
scene will live in memory as her last film, and she is resplendent in her
cameo.
The revelations in Ang Kwento ni Mabuti are so low-key that
if you blink, you might miss them. The characters are well-rounded, despite not
delving on each one’s history, we understand their motivations and their
actions. We empathize with their plight because they are common people.
Belief in fate and signs,
more prevalent as they are in the countryside, also figure in the film. From
mist to rain, swarms of insects, sunshine, and other natural occurrences that
some may say are coincidences, but to which ancient wisdom will give more
credence.
By the end of the story, it is indeed difficult not to believe in
fate, as it certainly directs the lives of Mabuti and her family.
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