By Noel Vera
MOVIE REVIEW
Apocalypse Child
Directed by Mario Cornejo
Critics fault Mario Cornejo鈥檚 Apocalypse Child for its formless almost motionless script, as if the premise (that Ford 鈥 played by Sid Lucero 鈥 is the bastard child of Francis Ford Coppola, conceived when the director was filming Apocalypse Now in Baler, Aurora Province), its development and resolution, were the raison d鈥檈tre for the film.
I disagree. In my book the premise is just an excuse for some lovely filmmaking, with a cast of attractive actors giving relaxed performances in one of the most beautiful seaside spots in the world.
I enjoyed Cornejo鈥檚 debut feature Big Time (2005), a Filipinized Tarantinoesque caper film only looser livelier; this if anything is a more difficult challenge 鈥 to persuade us to spend time with these four or five folks without resorting to crime-thriller tactics, jawdropping plot twists, gratuitous gunplay.
No; instead of the premise one must focus on the characters: on Ford, a surfer bum skimming through life in more ways than one; on Rich (RK Bagatsing), who is literally rich (newly elected congressman, son of the town patriarch); on Serena (Gwen Zamora), Rich鈥檚 drop-dead gorgeous fianc茅e; on Chona (Ana Abad Santos), Rich鈥檚 personal secretary and Ford鈥檚 much-too-young free spirited mother; and on Fiona (Annicka Dolonius), Ford鈥檚 live-wire girlfriend.
The relationships Cornejo traces between his characters are much like the waters of Baler: beautiful surface alternately translucent and reflective, harboring hidden currents. Ford and Rich grew up together like brothers 鈥 almost lovers someone puts it 鈥 but for some reason have recently experienced a rift between them. Serena is a classic example of the wealthy politician鈥檚 trophy wife, only with a skeleton or two in her closet; she clearly loves Rich, but when she and Ford meet you sense powerful sexual pheromones reacting.
Chona you might say embodies the spirit of Baler: she鈥檚 fond of spinning semi-truthful tales about herself and her town to, I don鈥檛 know, either entertain listeners or make herself seem more interesting (perhaps pinning her down on exactly why she does this might help explain the film). Fun to listen to her tales of course, but in a sense entirely unnecessary 鈥 she鈥檚 already a fascinatingly young mother (only 14 years older than Ford) who occasionally manages to shock her Bohemian son and his friends with her casual freewheeling spirit.
Fiona you have to love; that鈥檚 not a suggestion or imperative, just something that happens over time while watching her. She鈥檚 affectionate funny impudent intimate sexy; in bed with Ford you can believe the two have spent time together, know each other鈥檚 body well. She鈥檚 also strong, stubbornly honest, unafraid to say exactly what she feels (and apparently she feels plenty) 鈥 the perfect foil to Ford鈥檚 self-obsessed sense of entitlement.聽
If the film has a model it鈥檚 probably Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, Robert Altman鈥檚 adaptation of Ed Graczyk鈥檚 play, about a town that remembers the filming of George Stevens鈥 Giant and the production鈥檚 biggest star James Dean. Beyond the structural and thematic similarities (a small town unable to move past its memories of a famous film shoot; a bastard child unable to move past the shadow of his filmmaker father*) the pictures couldn鈥檛 be more different: Altman鈥檚 film (with cinematography by Pierre Mignot) is all gossamer moonshine and candlelight, with pane after pane of picture-window mirrors through which the camera plunges into the past; Cornejo鈥檚 film (cinematography by Ike Avellana) treats the sea itself as a mirror, diving in and out and occasionally bobbing on the water, revealing both the submerged and the surfaced (a disapproving critic called the lighting 鈥渨ashed out鈥; I prefer the terms 鈥渟undrenched鈥 and 鈥渄reamlike鈥 and call it a clever marriage of content and visual style).
Cornejo鈥檚 film is also not a little kinkier, with oddly fluid notions about relationships 鈥 Rich for one seems to be pushing Serena to sleep with Ford, why we鈥檙e not sure (A voyeuristic desire? A sadomasochistic impulse? An act of penance?). There鈥檚 the hint of a suggestion (skip the rest of this paragraph and the next paragraph if you plan to see the film) that Ford鈥檚 real father is Rich鈥檚, the two being really brothers (someone mentions that Rich鈥檚 father often treated Ford as a favorite), and a curious note of maternal tenderness between Chona and Rich (are they both her sons?). Ultimately we learn that Rich and Ford are not related, but the tension is such between them (they鈥檙e easily the most intense couple onscreen) that blood relation seems like an irrelevant issue 鈥 in one way or another, they鈥檙e inextricabley linked.
Interesting how Cornejo maintains a casual tone, how he scatters little plot points along the way but doesn鈥檛 explain or resolve all. (Why given her past does Rich still want to marry Serena? What really happened between Ford and Rich and Rich鈥檚 father? Why does Chona act like Rich鈥檚 nanny 鈥 his other almost? Who won the surfing competition anyway?) Interesting too the heavy marijuana use; if this picture were made a year later it might end with everyone lined up against a wall and executed by vigilantes, or, worse, both cast and crew lined up and executed before the film was finished.
It鈥檚 as if Cornejo, after setting up so many characters in a fairly elaborate storyline, decided to jettison most of it three-fourths of the way through, leaving us with what he meant to give us all along: a mere excuse to do some lovely filmmaking with a cast of attractive actors, in one of the most beautiful seaside spots in the world. Not exactly a monumental reason to see the picture, but in my book more than reason enough.
MTRCB Rating: R-16
* It鈥檚 also charming if a bit unlikely that Ford鈥檚 notoriety should arise from being the bastard child of the film鈥檚 director. If he were the son of Marlon Brando that would be different, but only a true film geek for better or worse would blame Coppola.
