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There are a few subplots, and some touches of "magic realism." Yllana's mother (Oropesa) is having an affair with a married man (Pen Medina) when he gets her pregnant, you expect the whole scandalous affair to blow up, lots of drama, declamation, etc., etc. You wonder what was the point of making the midwife male in the first place. The people of the village, in fact, are as blasé about the turn in sex roles as the most sophisticated New Yorker. It might have been more reasonable to have him make a few mistakes - drop a baby or two - but that doesn't seem to be on Diaz-Abaya's agenda it might have been reasonable to suppose a husband would put up at least token resistance to the idea that some man will root about in his wife's private parts, but nothing of the sort happens. Yllana is given the midwife position early on, but nothing much is made of it Yllana holds some early reservations about being right for the job but a few scenes later, he's pulling babies out of birth canals as if he'd been doing it all his life. The film is about the only son (Yllana) of the midwife (Elizabeth Oropesa) of a small seaside town an interesting concept, but you quickly lose interest. Learning in the end that the narrator is actually Yllana, after the passage of many years, you can't help but nod off from the total lack of surprise that cliché has been around, in theater and literature and film, for so long it should be celebrating its own centennial. The narrator is such an authoritative, interfering busybody you want to yell at him to shut up.
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When a girl character is introduced, we're told that she's wild, and full of mystery when the protagonist (Jomari Yllana) receives an omen and believes his luck will change, we're informed that he's wrong. First-person narration isn't always reprehensible - The Tin Drum begins with Oskar narrating his life's story even before he's born - but you shouldn't rely on the device to do all your work for you (as Drum refuses to do) you should have a story - a real story - to tell.
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There are American films, wanting to be European in style or spirit, which like to ape the convention - think Now and Then, or How To Make An American Quilt. Some of the hoariest European films use first-person narration as a way of injecting instant lyricism: think My Life As A Dog. If you have sharp ears, you might hear something else over the digitally orchestrated soundtrack - the sound of the audience's spirit, sinking into its shoes.
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Then the movie begins: over serene, New Age music, we hear someone telling his life's story, the words dripping with nostalgia. It's a lovely sequence, one of the best and most poetic uses of computer animation I've seen in a Filipino film if this had been used to sell a brand of soap or shampoo, I would have bought the product immediately. A drop falls on the screen, causing rings of water to swell outwards, breaking up the golden words and replacing them with new ones. To its credit, the film begins with a beautiful credit sequence: a sea-blue expanse with the words Pusod Ng Dagat in bright gold. It might have helped if something had resulted from that P17 million GMA Studios had just spent, but the movie is, if anything, even more lukewarm than the public.
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Initial public response, as far as I can see, has been lukewarm. It's a simple enough position, summed up in so many words: "We have a P17-million movie without Rosanna Roces." The arithmetic is simple: the movie has to make P50 million to break even (two-thirds goes to theaters and to the government). You can't help but sympathize with their position, with the faint whiff of desperation that hangs, like a shroud, over the entire proceedings. Marilou Diaz-Abaya's Sa Pusod Ng Dagat (In The Navel Of The Sea) is being given the full treatment by GMA Studios: movie trailers, TV spots, radio ads, print ads, press releases, the works.