One has to wonder why, given Adolf Alix’s astute direction, Jerry Gracio’s gripping narrative, Nelson Macababat Jr.’s compelling color palette and, not least, the acting master class by lead stars Nora Aunor, Gina Alajar and Jaclyn Jose
The moment when the dead body of Jesus Christ is taken down from the cross and given to his mother Mary is an image that was immortalized in marble by Renaissance artist Michelangelo Buonarroti. The sculpture, Madonna dela Pieta, has become an indelible work of art, inspiring reflection and thought across the ages.
The suffering of a mother for her son depicted in Michelangelo's towering work is the inspiration behind Adolf Alix Jr.'s new film Pieta, written by Jerry Gracio and produced by Alternative Vision Cinema and NobleWolf.
The main suffering in this movie is carried in her very gut by Rebecca (Nora Aunor), an old woman blind, afflicted with dementia and haunted by her past. Enduring his agony and guilt as well is Isaac (Alfred Vargas), who was imprisoned for killing his father, his cross and burden. Then there is Beth (Gina Alajar), aching and longing for something she had chosen to keep at bay. Finally, an unnamed woman, Jaclyn Jose, becomes the personification of the saying, "Hell hath no fury like a woman scorned."
When Isaac receives a presidential pardon and is released from prison, he goes back home, resolved to uncover the truth about his father's tragedy. He believes he was wrongly accused for his death.
Upon arriving at his birthplace, he learns that his mother Rebecca, in her twilight years, has lost her sense of sight and does not even remember that he is alive because of dementia. His considered aunt Beth takes care of his mother and their vast cornfield plantation.
With Isaac's return, old wounds and questions are forcibly opened, bringing chaos and danger to the family home. The revelation of the truth escalates in true Shakespearean fashion — made spine-chilling and gut-turning with its ingredients of rage, deceit, betrayal and all things in between.
Master class
Alix's direction and Gracio's screenplay are gripping and gritty, but also has a lot of heart and tenderness to them. There is violence and mayhem, but what stands out are the moments with no lines but just practically screamed.
Isaac's first train ride home, for instance, his face filled with innocence and pure, childlike smile; Rebecca's rendition of Ati Cun Pung Singsing, done almost like spoken and sung poetry, with her eyes, reflecting the longing for something or someone she can no longer articulate; the sisterly bond between Beth and Rebecca, as Alajar's character gives Aunor a sponge bath while recollecting the start of their friendship and the mother and son dance scene, with Vargas eyes' filled with so much love for a mother who does not remember him and the ache in his voice as he thanks her for the moment.
The emotional truth and sincerity given by Aunor, Alajar and Jose to their respective roles are a masterclass in acting. Adjectives are not sufficient to describe the level of commitment, heart, passion and vulnerability these actresses invested in their broken characters. Jose, in particular, gave a whole different level and gravitas to her short yet impactful screen time.
Vargas is earnest in his efforts to bring Isaac's character to full fruition, and he succeeds most of the time. It's just that he's up against the trio con brio of Nora, Gina and Jaclyn — veteran actresses at the top of their game.
There were also impressive moments by two newcomers — Miggy Jimenez and Tommy Alejandrino, both of whom we should watch out for.
Worthy entry
With Alix's astute direction and aesthetics, Gracio's gripping narrative, Nelson Macababat Jr.'s compelling color palette and the acting master class by its lead stars, I cannot help but wonder why the selection committee of the recently concluded Metro Manila Film Festival did not see Pieta as a worthy entry for competition.
Of course, no answers will be provided since the festival has already handed out awards and has achieved its target of a billion pesos in gross sales.
What is good to note is that micro cinema screenings of Pieta are always packed, and good word of mouth always follows.
The audiences are not only the stalwart Noranians and fans of Jaclyn and Gina, but also youngbloods in the crowd who are getting the full-blown Nora Aunor experience and can savor the opportunity to watch the crème dela crème of Filipino actors in the film. Alix's film should get more such love and support, which it richly deserves.
