Sarong Banggi

Here is what Pepe Diokno has to say about the movie:

A few films leave you in your seat as the credits roll–and I’m not talking about the ones with outtakes and stuff. See, there are few movies that suck you into its world so deeply that when the movie ends you’re still in it, wanting more. “Sarong Banggi” is one of these movies. So first, let me tell you what “Sarong Banggi” means. It’s “One Night” in Bicolano. This title comes from a classic Bicolano song.

The film approximates the song in many ways. First, the story happens in one night–and it’s about two people meeting. Second, and more importantly, the film captures the rhythm of the song. It’s a lyrical movie–it’s an audio-visual poem.

“Sarong Banggi” follows a teenager named Nyoy on the eve of his birthday. To celebrate–or initiate him–whatever, his friends take him out to Manila to score. Their “contact” is a prostitute past her prime, named Melba. They realize this and bolt, but Nyoy somehow drifts back to her. He then spends the rest of the night with Melba, and discovers the world of sex, and a world he didn’t know he was a part of.

It would’ve been easy to exploit this story and make it into a cookie-cutter Seiko Films production. However, writer-director Emman de la Cruz handles this material with such care, that it becomes something unique. Yes, the film is paced slowly. No, there are no guns in this movie. Yes, there is sex. No, the sex is not “Y Tu Mama Tambien”-like. The film is beautiful for what it has and lacks.

The film’s slow pace allows you to see Manila in a different light. In “Sarong Banggi,” Manila becomes so beautiful–it’s almost like New York. The setting actually becomes part of the reason you don’t want to leave the world of the film. Manila, as captured through Miguel V. Fabie’s caring, loving eyes, is a symbol of life and home, and at the same time a symbol of isolation. That is cinematography–it isn’t merely making things look good, it’s conveying a message through visuals.

The slow pace also allows you to take in beautifully written characters. The audience gets to sit down with Melba, and see through her exterior. We also get to spend time with Nyoy, and explore his vulnerabilities. We probably don’t know people like Melba, or Nyoy, but we identify with them because we are given peeks into their souls.

Emman’s Melba is played wonderfully, of course, by Jacklyn Jose. She won this year’s Urian Best Actress prize for her performance in this film. There are movies when you can tell an actress becomes her role. A step higher than that is when an actress is able to develop her role. This happens when she is able to take simple cues in a script to create an arc for her character–Melba talks the same way at the start and end of the film, but Jacklyn Jose as Melba is a different woman at the end.

Again, there are no guns, no snakes, and the sex isn’t shown. But the film is great for what it has and what it doesn’t–restraint is something Filipino films need and “Sarong Banggi” has the right amount of it. It may not be for those of you who want every movie you see to be over-the-top. But then again, it’s about time you be open to different sides of cinema. There’s so much you can do with film other than make Toni Gonzaga and Sam Milby meet.

“Sarong Banggi” is both entertaining and unique. It’s worth your ticket money. Super says go see it!

Here is what I have to say about the movie:

I TOTALLY AGREE WITH PEPE. you can read his full article at inq7.net.