Malaysia’s Charismatic Genius

Last night, I chanced upon a documentary on Tan Sri Datuk Amar Dr.P. Ramlee, a Malaysian film director, producer, actor, singer, songwriter and composer. I wasn’t able to see the beginning of the docu at History Channel but I got so engrossed in knowing about his life — happy and sad — that I managed to finish the whole docu despite lengthy ad intermissions. What he had done really impressed me, the reason why I am writing about him now. It was my first time to learn about him but I think that he was a gem of a person as  an accomplished film director, the world, not only the Malaysians should be proud of.  He directed and acted in 66 films, and had more than 360 songs to his credit. Even though I couldn’t understand the lyrics of what he was singing in some of the film clips shown, I could feel the soul and his heart while singing his compositions. He was at the peak of his career almost as the same time as our own film director genius Gerardo De Leon and one of my favorite Indian film directors Ritwik Ghatak.

“On the 29th of May 1973, P. Ramlee died at the age of 44 due to a heart attack and was buried in Jalan Ampang Muslim Cemetery, Kuala Lumpur. His untimely death was a huge shock to the nation, and a sense of collective guilt began to spread nationwide, as prior to his death, he had been discredited and rejected by his own nation, citing that he was then a ‘has been’, and his songs and film were no longer marketable.

In 1986 (13 years after his death), in honor of his contributions to the Malaysian entertainment industry, the P. Ramlee Memorial was built in Setapak, Kuala Lumpur. In 1982, Jalan Parry, in the center of Kuala Lumpur, was renamed “Jalan P. Ramlee” in his honor. In 1990, he was posthumously awarded the Malaysian honorific title “Tan Sri”, and later in 2009, the honorific title of ‘Datuk Amar’ by Sarawak State Government. The Chief Minister of Sarawak, Abdul Taib Mahmud, an avid fan of P. Ramlee, presented the award to his adopted daughter, Dian P. Ramlee in a ceremony honoring veteran artists in Kuching. On 31 October 2010, a 90-minute documentary on his life was aired on History Channel Asia.” (Notes from Wikipedia. To read more, please click: Tan Sri Ramlee)

Without doubt, the documentary that I saw is the one being referred to above.

Blind Enchong Dee in “Parol”

Last night I watched ABS-CBS’s “PAROL” in last night’s presentation of MMK. I liked the setting so much, and to this I refer to the house as one of the main characters in the film. Sad but it is true that many ancestral houses have to give way to the whims and wishes of the descendants to whom supposedly care to keep the house intact, protected and secured are bequeathed. Attachment are ordinarily cut because of the material lure of the city and the pecuniary reason that comes with just maintaining it. Better sell is the usual reason.

I remember the house of Katipunero Mariano Trias which had to be demolished to give way to a commercial building. I was there at the time when his other descendants were trying to stop the selling of the house — by the adopted person of the man, they said. I was researching for materials for my brother’s book “Ilang Talata nang Paghihimagsik..” that was due for publication then. I even wrote the National Historical Institute if something can be done to stop the action. They did inspect the house I was told, but it was too late…

Anyway, what to me was glaring in the TV show was the lack of research in the presentation of a blind man by Enchong Dee, particularly in the last scene when he had to finally leave the house with a young girl. The natural instinct of a blind man when he is guided is for him to rest one of his hands on the shoulder of the person he is with. I noticed that when I was going out of the room once with Blind Architect Jaime Silva, and in all blind persons who are on the road when they are not guided by their white cane. Notice that when there are more than two persons with a seeing person guiding them, they even line up like a “shoo shoo train.” A blind individual does not walk like a zombie like how Enchong did it. Seeing persons like us instinctively do that when there are brown outs and when it is totally dark. Besides, the time span of Enchong Dee in the TV show is until adulthood. I wonder why he was never shown at all — not even once — the use of a white cane. I can’t believe that he should be always groping the way Dee acted it out.

Another thing that bothers me is the negative idea it presented when Enchong said that he wanted to study.  The mother dissuaded him and explained that she didn’t want him to because she wanted to protect him from harm. Sus naman!! Well, since it is based on a true story, I just pity that man whoever Enchong represented. But the metaphor that he would be the light that would guide his siblings was good.

Independent Filmmaker’s Privilege

CREATIVE FREEDOM

Filmmaking involves personal choices and decisions. The artist’s freedom to choose and decide is an independent filmmaker’s privilege that I am enjoying to the max. I feel privileged—privileged as there is no producer to tell me what to do—what to put, what will sell, what bores him to death so better delete it, etc., etc…

I have my creative freedom to focus on anything that I want to give importance to, as anyone can have their freedom to do their own thing. I cannot be obliged to see what others see or want to see. Let me tell the world that no individual, no school, no institution, no sponsor, no producer has ever commissioned me to do any of my advocacy films. All my films are personal dreams realized. Build your own dream!

My odyssey shall silently continue…new people to meet along the way…new friends…new knowledge to acquire…a whole new world to enter…new personal mission to accomplish for the greater good.

My films are vehicles to express and share my thoughts with. The audience are my passengers. And if you happen to journey with me as one of my film’s passengers, understand that your angle of view as we travel together shall differ because your story, history and experiences are different from mine.

From autism world, to the world of the  Deaf, I have  now moved on to the world of the Cerebral Palsied…In particular, SO traces not mine shall stay on however, to haunt others perhaps for what they call its lack. But to many others—whether Deaf or hearing, the film beyond trivialities shall certainly be a milestone, if not, a source of inspiration.

I have written this to serve as my personal treatise on the subject of non-inclusion, little, or no exposure in my films, and all the films in the future that I am dreaming of producing as there are still lots that I want to do. This is therefore addressed to all those who presently harbor or unfortunately will harbor the sentiments or grudges of feeling “insignificant” for not being included in my “travel” which is a very personal and an independent endeavor anyway. It is never my wish nor my liking to make anyone feel that way. They unfortunately chose to wallow in it reminding me of a quotation which states that: “It is not what happens to us that is the problem. It is our attitude towards what is happening to us that is the problem.”

(For the full article, see Page “A Treatise on “Exclusion” on the right column)

When the “I” matters

Beauty they say is relative. And I think that appreciation of beauty and film appreciation are pretty much the same. Both depends on the beholder—his frame or state of mind the time he views, for example the film, painting, sculpture or architecture; or his disposition the time he hears the music, song, poem, etc. Let’s zero in on the subject of film viewing. Was he irritable, happy, angry, hopeful, highly expecting, exhausted, what not, the time he views the film? What about his background—a moralist, authoritative on the subject, demanding, a critic? A high school or college student? A school teacher or university professor? Or just a simple viewer who merely wants to enjoy while at the same time absorb what he sees whatever his profession may be. What does he know about filmmaking—technical and creative part of it? Film structure and form? Is he after technical perfection and glossiness of the film over what the film actually offers? Does he look beyond the images? In what the film is trying to say, or rather, what the filmmaker is trying to convey? If the Censor’s board for example, only eyes on “censorable” images without seeing them in the context of the whole film, is that being just and fair? If one sees only a segment and forgets the totality and value of the entire film, isn’t the act limiting?

Anyhow, it is my belief that if a viewer puts a stop to his viewing experience because there is something he does not agree with, or finds something technically wrong in it because he is a perfectionist, it is his right to be so. For at that point the “I” matters. The self becomes important. Their yardstick becomes their experiences, morality, beliefs or what they believe to be what should be. They then stop to participate. Empathy ceases. Negative reaction overpowers. They become ill at ease. Everything seems wrong to their senses. They will dwell on what they view as lack, mistakes, probably indulgences, violence, too much sex, etc. Film “depreciation” follows. Nothing else will matter. For by then they would only be considering themselves.

I have produced a couple of feature-docu films, which are advocacy and educational by nature. And I would like to start on the reactions to Silent Odyssey (2008), a docu on Deaf Filipinos, the more recent among my films:

A friend says SO is “dragging,” another friend says it’s “engaging.” Both are UP graduates.

One says “It’s very long.” The other says “It’s OK with me. I didn’t notice the passing of the time…” Both are hearing educators. They come from the same school for the Deaf.

A blogger who runs a computer school for the Deaf says it lacks historical researches because his school, a Deaf institution and some people whom he expects to be in the film are not there while a lawyer says “malalim at scholarly ang treatment.” Both saw the film for the first time when premiered at the UP Film Center in UP. The former, an educator of the Deaf for years is dismayed, the latter who gets a glimpse of Deaf culture for the first time is touched by what he has experienced.

Although both started walking with me in my journey, one got tired, stopped and just looked from a distance—completely distracted and finally detached. The other continued with the walk, saw everything along the way and felt the sentiments of the subjects—he got involved, his film viewing experience was participative and whole.

There are clearly various types of viewers: there are those who refuses to see what I have seen in the journey because their interests are not my interests, those who are so much into themselves that they could not detach from their being, those who are so critical because they feel they know better and there are those who enjoy the journey with me because of getting enriched by the knowledge they get from the odyssey into diverse world. Film appreciation revolves around the feeling of empathy or having none of it. The experience is subjective. What I appreciate as good and beautiful may not be to others. Everything boils to one thing: YOU CANNOT PLEASE EVERYBODY.

On ALYANA, here are some reactions:

When Alyana was premiered, the only negative response that I got was about its length and some shaky shots. I am a film editor and I pretty well know when and where some, not all in the audience will feel uneasy or get bored. But my mentality runs this way: “If you get bored, go out and return if you like. If not, go straight home. Take it or leave it.” That way, I really appreciate being an INDEPENDENT FILMMAKER. There is no one to tell me what to delete and put in. But I am not numb to positive criticisms. Definitely not. Just get me convinced and I shall take them in consideration.

Alyana have three versions considering the type of its audience, time constraints and requests by the sponsoring groups:

Version 1 – (2 1/2hrs / 150 min) – the original premiered version with the segment on Occupational Therapists (OT) added. Best for direct beneficiaries and stakeholders: persons with autism and their families, special educators, therapists, caregivers, etc. This is shown only upon request.

Version 2 – (110 min) – the version which goes around the Philippines. It has a 5-year Censor’s permit, the copy shown at SM Cinemas and first exhibited at the Cinemanila International Film Festival (CIFF). It had special screening at the Festival on the Issues Concerning the Mentally Challenged in New Delhi, India in 2006.

Version 3 – (97 min) – the version which was captioned for the Deaf audience. Best for upper high school students and up and those with short attention span. Also good for showings in places where time is a big factor. This version was first shown at the International Women’s Film Festival 2007 in UP and the version requested by Silliman University and ASP Chapter in Iligan City.

(For more reactions to the film, see the page on the right column entitled “Alyana in Tagum City.”)

FOCUS
My film is oral history in format. Focus is a must in watching my films. If one loses focus, if the viewers cannot relate to the experiences of my subjects or cannot for a while detach themselves from who they actually are at the time they sit and watch, the probability is very high that they won’t enjoy and profit from it at all. They will get BORED!

MEANT TO HELP CHANGE ATTITUDE
Since I am not making advocacy films to please anyone but to help change attitude towards my subjects, help erase myths and hopefully remove negative stigma about them, nothing external matters. It is my personal satisfaction to achieve what was formerly just an idea or just a dream. It is my joy to be able to overcome all the obstacles in making my films. It is the accomplishment of what I believe to be my “mission” and to share what I have learned that matter most. The viewers have their own brains to process the information presented to them anyway. Again, it is a take it or leave it proposition. It is MY journey afterall. Viewers cannot be forced to bear the brunt of sitting for hours if nothing sink in their minds anyway. It is a waste of their time. At least, I have never heard anyone commenting that my films are trash.

Remarks of the majority to both films are positive and encouraging, indicators to me that I am doing the right thing and that I am on the right track:

“A bold step—mind and heart opening.” (Autism Society Philippines President DANG KOE)

“…very, very important work to understanding the culture of the Deaf…” (De La Salle- College of Saint Benilde President, VICTOR FRANCO, FSC)

“a trail blaizer…” (Founding ASP member, Mrs. CARMEL ALMENDRALA)

“…hope your Silent Odyssey reverberates nationwide to wake us up, to keep the isolation, ignorance and prejudice outside our world” (Atty. ROBERT SISON)

“It touched my heart deeply…I was crying!” (Maria Luz Cole-Havraneck, Silliman University Alumna, Dumaguete City)

(For other comments on SO, see the trailer at Youtube.com watch?v=fFUeGiYyH6I)

Alyana is going around the Philippines since 2006 while Silent Odyssey  started roaming outside Manila last October 2008 organized ironically by groups of hearing individuals. Both have showing engagements being planned and prepared by various groups for screening this year 2009 in their respective communities.

The Philippine School for the Deaf Parents-Teachers Association has postponed their showing of SO slated in February as Deaf Inc. in Palawan plans to show it too in Aborlan sometime this year.

Alyana is scheduled to have three showings again in Batangas City from 8 am at Lyceum of Batangas this coming Thursday, March 5. It was first shown thrice last February 7 at Batangas Provincial Capitol in Batangas City. (Click here for the Batangueños’ reactions: watch?v=cDKY9bkD-9I)

“Some like it hot. Some like it cold.”

There is a nursery rhyme which goes like this: “Some like it hot. Some like it cold. Some like it in the pot nine days old…” Films must have been like porridge or any food for that matter; its “taste” varies from person to person. As such, people’s reaction to an object of art, a poem, novel or film varies from taste to taste. Some like action movies; films on sex and violence; others the horror types; historical or educational; the majority prefers the melodramatic kind, others comedy, musical, suspenseful, magical or mythical.

What are taste buds for anyway? Personal choices and decisions? The sensors of the senses? Intelligence that differs us from animals? The ability and capability to discern–to differentiate good from evil. We have the power only humans have. To enjoy beauty. To love and be loved. To appreciate Nature, make Nature be a part of us, or destroy it. To use and maximize the talents God gave us, or waste it. To share what we have, or keep it to ourselves for us to enjoy alone…

You may or may not like what is being shared to you however. Have you ever experienced being in a bus or a jeepney with a member of some sect or religious group barging in “to share God’s words?” You may listen to him, or not at all. It is similar to sharing film experience. The filmmaker makes a film to share his ideas, thoughts and visions with the viewers. It may be commercial or very personal. But you may or may not find it good after paying to watch it. You may finish watching a film or a theater performance satisfied, or you may leave the hall before it finishes cursing it like mad or considering it as trash. It all depends on you. One’s taste varies. Like porridge, you may like it hot. But others may like it cold.

In the same manner that when I am asked why I make films for special children, I counter question by asking “Why not?”

Bloggers Kontra Publicists

Unlike most of the film publicists who write for a fee, bloggers generally write from the heart with no motivation whatsoever to write for cash. (See “Blogger’s Notes: Reaction to Alyana and SO” on the right column)