Mamay Umeng (Dwein Baltazar, 2012) December 13, 2012Posted by Richard Bolisay in Asian Films, Cinema One, Noypi.
Written and directed by Dwein Baltazar
Cast: Gerry Adeva, Sue Prado, Crizzalyn Enriquez, Ramona Revilla
Many writers have pointed out the beauty and subtlety of Mamay Umeng, and without a doubt Dwein Baltazar’s debut feature is a beautiful and subtle film. In fact, despite the lack of narrative action, it has the ability to hypnotize the viewer, thanks in large part to Neil Daza’s striking camera work and to actor Gerry Adeva’s indelible presence, which lingers even after the screen fades to black. Baltazar’s portrait of Mamay Umeng is as clinical as an autopsy, basically providing a 70-minute glimpse into an old man’s life as he waits on his death, but she leaves plenty of room for introspection, capturing everyday moments and making them resonate, her discipline as a filmmaker as recognizable as her subject’s frailness. It’s the kind of film that’s willing to sacrifice plot development and character arcs for the sake of effect—that mental and emotional impression based on the totality of a piece of work—and on one hand, bravo, it succeeds, congratulations, but on the other: is that it? To what end? The problem with the idea of filming life as it happens is that it becomes the basis of everything: the director has to stand by it and the viewer, seeing how its stubbornness will never waver, concedes to it and becomes subservient to the point of resignation. A story about waiting doesn’t have to emphasize waiting to illustrate its point—a lot of precious opportunities are lost because of this mistaken idea—and the decision to observe and idle instead of making an effort to drive the narrative into far riskier territories, may they be physical or emotional, only scratches the surface: it will create a wound but it will heal very soon. Mamay Umeng is fraught with affecting displays of sadness, but one can’t help feeling that they stand out because the scenes around them are bare, that they are restrained because there’s a pervasive fear of ruining the tone of the movie, that in essence the film is trying to leap but it can’t leap because it would rather go around, afraid of losing what it has accomplished. And by all means that’s a sadder thought.