Worthy To Win
Romping off with the major awards--Best Picture (co-winner) as well as Best Director and Best Screenplay honors for Mes de Guzman--at the recent 1st CineFilipino Film Festival, Ang Kwento ni Mabuti should have also won the Best Actress award for Ms. Nora Aunor's simply sublime performance, according to the blogger of 'My Movie World.'
BEST PICTURE
BEST ACTRESS, Nora Aunor
BEST STORY, Mes de Guzman
Runner-up--
BEST DIRECTOR, Mes de Guzman
BEST SCREENPLAY, Mes de Guzman
BEST SUPPORTING ACTRESS, Josephine Estabillo & Mara Lopez
BEST SOUND, Mes de Guzman
BEST PRODUCTION DESIGN, Cesar Hernando
Nagustuhan ko ang pagiging raw and authentic ng pelikula. Dinala ako ng director sa Nueva Vizcaya at ipinakita ang buhay ng mga tao na naninirahan doon. Tumawid sa akin ang lugar at amoy na amoy ko ang kapaligiran na ginagalawan nila. Ipinakita ng pelikulang ito ang payak na pamumuhay at pang araw araw na suliranin ng isang pamilya sa probinsya.
Si Ms. Nora Aunor ay nagpakita ng totoo at natural na pag – arte sa kanyang tauhan na ginampanan. Nagawa niyang iblend ang sarili niya bilang si Mabuti. Bumagay ang kanyang pagganap bilang isa sa mga Ilokano na naninirahan sa Nueva Vizcaya na animo’y parte talaga siya ng komunidad na iyon. Si Mabuti ang nakita ko sa pelikulang ito at hindi si Ms. Nora Aunor. Napakahusay din ng pagganap ni Mara Lopez, na muli na namang nagpamalas ng lalim sa kanyang pag-arte. Gusto ko rin purihin ang gumanap na nanay ni Nora sa pelikula na napakanatural ng pag arte at nagbigay ng kulay sa pelikulang ito.
May pagka subtle and silent treatment ang ginawa sa pelikulang ito na nakatulong upang mas maging natural at tumawid sa manonood ang buhay ni Mabuti. Bumagay ang production desing at cinematography sa mood ng pelikula. Hindi naging pretentious ang pelikulang ito at naging totoo sa pagpapakita ng buhay sa probinsya. Pagkatapos mong panoorin ang pelikulang ito ay iisipin mo na maari rin tayong mamuhay ng payak sa isang malayong komunidad sa probinsya.
Postscript: The More Deserving Best Actress
"I thought Teri Malvar was a very natural actress as Anita. She was acting her age. She is very brave to tackle such a daring role. That final heart-to-heart talk scene between Anita and her mother Lolita (played by Lui Manansala) was so good! The Best Actress award she won was very generous of the judges. Not to say that young Teri not deserve it, but the performance of Nora Aunor in "Mabuti" is clearly superior and with more depth." -- from a review of 'Ang Huling Cha-cha ni Anita' in the blog Fred Said: MOVIES
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"Nora Aunor on her part, who attended the 2013 CineFilipino awards night, showed no negative reaction toward Teri’s victory. We even saw her smiled and clapped when Teri’s name was called.
Ms. Aunor’s readiness to accept defeat was again been observed by the showbiz reporters who covered the event, including this columnist. We even heard her speak “Walang dapat ipagdamdam. Naranasan ko nang magka-awards. Tama na ‘yun. Natutuwa nga ako’t isang baguhan pero magaling talaga ang nanalo. Ibig sabihin nu’n fair and square ang mga hurado sa katatapos na awards night ng CineFilipino Film Festival.”
Inquired what was the acting ingredient that she missed in portraying the character of Mabuti in Ang Kuwento ni Mabuti, she declared “Kasi ang (ikapapanalong best actress) ng isang artista naman ay nasa role na ginagampanan niya ‘yun.” -- BUTCH ROLDAN, Journal Online, Sept 26, 2013
The Tale Is No Tail-Ender, The Loser Is The True Winner
By ALVIN DELA CRUZ BERNARDINO, administrator
of “The Artistry of Nora Aunor” Facebook page
Much has been said about the merits of Ang Kwento ni Mabuti; all of which asserting the old adage that indeed “simplicity is beauty.” After almost a week of very successful screenings at the 1st Cine Filipino Film Festival, the awards were revealed and the movie savored a solid major romp with the Best Picture, Best Director and Best Screenplay honors… Well deserved… But how about the Best Lead Actress?
As I watched Ang Kwento ni Mabuti during its gala screening last weekend, I momentarily “detached” myself from the reality that I am a firm believer of the Nora Aunor brand of artistry. I viewed the entire film with sheer objectiveness and a huge expectation of a fresh approach in Filipino filmmaking. True enough, the film is a glittering gem -- a cinematic achievement that screams “brilliance” in all its simplicity and silence. The Filipino ideology is very much evident in the film’s narrative… The regional flavor provided by the poetic, sublime landscapes and rural charm of Sitio Kasinggan in Nueva Vizcaya is just breathtaking… The morality theme is appropriately emphasized without being preachy or self-righteous… The film succeeds in imparting a strong message by challenging the viewers’ minds in a subtle, intelligent manner… Most importantly, the film has universal appeal. A third world fare that does not blatantly present or condemn poverty but makes the world realize that in the midst of an impoverished life situation, hope, still, is what keeps us afloat.
Mes De Guzman’s direction is deft, keen and straightforward. His style best suits cineastes who go for art films which ordinary moviegoers may find boring or dragging. Now I am adding Mes to my list of favorite local filmmakers. And I am looking forward to his next film project. His screenplay is absolutely effective, natural-flowing and devoid of any cinematic excesses that we often observe in local flicks. The Ilocano dialogue is sweet, charming and affecting.
Best Picture – check! Best Director – check! Best Screenplay – check! Again, the question: “How about Best Lead Actress?”
Nora Aunor failed to bring home the prize--losing to a 13-year old acting novice who plays a young lesbian in the film Ang Huling Cha-Cha ni Anita. The role may be too offbeat and highly challenging for a child that jurors found impressive, amusing, interesting and award-worthy. But she was pitted against the veteran Aunor who, for the first time, played a cheerful, optimistic, Ilocano-speaking folk healer. The Mabuti portrayal may appear too “lightweight” compared to flashy, daring and over-the-top characters that other actors in the field fleshed out, but the real gauge of good acting is: 1) the consistency of a performance, 2) effective characterization and, 3) mastery of the art of being as against the tricks of mere acting. In this respect, Nora Aunor scored a solid triple punch-- and there is more.
Aunor is at her most mature, most consistent and most sincere as a film performer in Ang Kwento ni Mabuti. The Mabuti role may be lacking the bravura, high-voltage acting moments that easily please viewers and critics but the challenging and tricky part in playing a simple character is how one sustains its natural development without losing grip of the viewers’ interest and attention. Nora excels in this aspect. Her quiet intensity gradually builds up, simmers and boils just at the desired temperature. A stroke of genius that is neither underdeveloped nor overdone. Nora as Mabuti is a display of sheer mastery in acting and being, oftentimes exhibited in muted magnificence. Hers is a layered performance that does not sag. Hers is an acting expertise that can only be achieved through years of constant adeptness in her craft. Add to this Nora’s highly intuitive nature which sets her apart from other performers. Not even any child performer who manages to shine in just a number of scenes can match the acting virtuosity of Nora Aunor. Maturity and sensitivity in acting are traits that are not acquired overnight. And maturity, depth and sensitivity become La Aunor in Ang Kwento ni Mabuti.
In the words of ace filmmaker Mes De Guzman after his triumph at the 1st Cine Filipino Film Festival awards rites, “There is no Best Picture and Best Director without Nora Aunor.” That said it all.
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