Film Analysis

Film Analysis In Art Appreciation

“Crying Ladies”

Submitted by: Don M. Velasquez .

Submitted to: Sir Miller Duron February 29, 2009

1. Is there a larger theme or cultural worldview inherent in the story? Yes, it has a large topic. And the subject matter for the movie, Crying Ladies, is that even if there are many struggles in life, we make sure that we must think constructively and have many ways to make our life be better. It has a worldwide inherent in which in the movie, it gives you an idea about how the Chinese-Filipino society commemorates a conventional wake and the process that it goes everyday (to preparations until the day of the burial). Actually, the story revolves around these three ladies who each have their own story to tell, with their own struggles and challenges to face. And to sum it all up, some women cry out of sorrow. Some women cry out of joy. These women cry for money. 2. How is the theme or worldwide view expressed? In the film, Crying Ladies, the theme was shown and revolve in the behavior and personality of each character as you can see Stella (Sharon Cuneta), Rhoda Rivera (Hilda Koronel), and Choleng (Angel Aquino), that each of them has a very only one of its kind characters or personalities that they have each struggles and ambiguity behind their inner self but they make all the possibility to overcome the struggles through realizations, awareness and figuring out the solutions in them. The worldview is expressed through the formal procedure of the wake itself. You can see the different custom, belief, and tradition in a wake for that fact. In a bigger picture, you can see how a Chinese family behave during the wake and how they interact with the people especially the Filipino people that is visiting the wake and most especially on how they react about the paid mourners. Furthermore, it was shot or taken on the place of Binondo, Manila wherein the Chinese-Filipino community lives and also it revolves in the Chinese funeral wake. 3. What types of "voices" are used in the film? The voices that are used in the films are the characters itself. Because you can see in the film that the characters try to reach out to us that life are not merely a sweet life and the reality that Filipinos, which has many difficulties in life, tries to be strong and tries to have a good life somehow. Is there a match between the speaker who you see the voice associated/ assigned to him/her? Yes, there is a match between the speaker and the voice because the voice and the speaker are only one. They speak through what they act and what they undergo during the film. As you can see, you can relate with the characters because in the sense that the character's role really can be seen in each one of us everyday. It just shows that they just illustrate in their behavior a stereotypical Filipino. Are voices manipulated - how and for what purpose? I think it is not manipulated because it flows naturally with the characters and that every scene, it has a direct hit for us and gave us a sense of belongingness. It really shows in the film the empathy of each of the actors to the people who have this kind of living. 4. What genre/type of film is this? It is an education and yet popular film because this awesome film represents the culture and relationship between the Chinese-Filipino and the Filipino community. Furthermore, it is popular because it is a unique film offering a different kind of setting, plot, unusual characters with twists. Well cast and acted by some of the Philippines' foremost stars, and well-enough written and directed to pull you along, this is an intriguing, enticing (though probably skin-deep) look into Filipino culture. "Crying Ladies" is best appreciated for the winning performances of its trio of stars, who convey their characters' desperation with humor and poignancy. Also it is said to be comedy but somehow it was categorized under the light drama genre. For the reason that some parts has so-called “ice breaker moments” wherein you will laugh to death with the scene along with some moments that you will cry that will in actuality tear your heart.

5. What cinematic strategies are used to reinforce particular themes or messages? First, in the introduction part, you can see the creative transition in introducing each casts on the film. These different shot scenes changes creatively and smoothly. It has also a segment that in each day, a family offered or donated a money for the family who had someone whom passed away (it is like a start of another day and another chapter for the film). What's more it has great audio effects that really enhance the scenes. You can also observe the creative cinematography wherein the camera revolves up and down circling around while doing a drama scene. 6. What images or symbols are employed in the film? The first symbol is the act of crying or mourning of the paid crying ladies. Because they believe, Chinese-Filipino people in their Chinese tradition, that if they are many mourners, it was said that it is a good feng shui because of the good karma it bring. The one who passed away will be called “good person” that he/she in return will be raised into heaven and somehow shows that he/she is loved so much that many people take into account him/her. Second, the Chinese symbols and rituals that is used for the wake. It shows that Chinese really stick to their principles of their old traditions that are inherited in China. Third, the karaoke (carry oke) wherein it is used as an instrument of hope that every time Stella has nothing to do and to gave a stress-free time to herself, she sings with the karaoke and unnoticeably, that karaoke turns her to fame because she became an image model for karaoke videos. Fourth, the money or the “sweldo” wherein it gave the characters strong desire to strive to work and to have a good life. Fifth, the Stella and Bong relationship in which it symbolizes the family ties and family bond. Sixth, the film Darna and the Giants, wherein it shows that fame exist in each one of us and we must do it well before it ends. Lastly, the white color theme of the funeral was used all throughout the film. That color shows the innocence and purity of the people that somehow washes their sins and being apathetic. 7. Is there a narrator? No, it has no narrator at all in the film because as you can see on the film, it is easily understood by the viewer itself. The scenes ware almost self-explanatory and it adds that it is a reality-life based film that can really empathized the viewers not just for Filipino people only but also other people of the other culture. What is the narrator's primary function in the film? If there is a narrator, its primary purpose for me is that he would somehow discuss and elaborate the feelings of the characters. Furthermore, if there is, it must discuss the inner feelings of each character. But for me, as I saw and observed on the film, each character can be a narrator because of their uniqueness in terms of their personalities. Maybe the narrator speaks to itself through the characters. 8. Are the voices of the narrator and the people filmed on equal par? No. Because the only voice in the film is the third person limited. A third person limited narrator whose knowlegde is limited to one character, either major or minor, has a limited point of view. It is limited to the one character with whom the story is being told through To what degree is the intersubjective nature of film/ filmaking apparent in the final product? The characters were describing through their actions and conduct it. Every character has a different story on the film and they all entwine with one specific agenda which is crying in the wake. It shows that every character really play a part on the film that makes it more appealing and exceptional from the other film because as you can perceive, the characters are somehow familiar but on this film, they make a lot of twists and other bizarre individuality that makes it supplementary remarkable.

9. Who are the major characters in the film? Sharon Cuneta .... Stella Mate Hilda Koronel .... Rhoda "Aling Doray" Rivera Angel Aquino .... Choleng Eric Quizon .... Wilson Chua Julio Pacheco .... Bong Ricky Davao .... Guido Shamaine Centenera .... Cecile Johnny Delgado .... Priest Sherry Lara .... Mrs. Chua Raymond Bagatsing .... Ipe

Are women visible in the film? Yes they are visible on the film and it shows empowerment for the women because it revolves around three ladies searching for their right paths in their miserable lives. Femininity definitely rules this movie and will definitely inspire our modern Filipino women.. 10. Whose perspective(s) guides the film? The characters and the traditional Chinese culture guide the film. In the characters of the film, like a said before they have different stories to tell as well as we can see to them their individuality. Behavior definitely plays a greater role for the characters and the perspective that guides the film. In the traditional Chinese culture, it makes use of the traditional wake of the Chinese in which this causes the relationship between the characters and makes the story inimitable. 11. Does the film rekindle any thoughts in regard to the politics of representation? The film represents the life of usual Filipina, the Chinese-Filipino community as in relation with the Filipino community and the problems encountering of our society today which is poverty, lack of discipline, and some uncertainties in life (broken family, unfaithfulness, etc.). 12. Might stereotypes be challenged or reinforced in the film? Actually this film made by Mark Meily is somewhat different from the usual film that we see on the big screen because Writer/director Mark Meily wanted to make a comedy with some emotional moments, but, like most other comedies from Asia, the humor is highly exaggerated, taking away many of the more poignant moments. This is where Meily really triumphs: there’s a light touch to everything. The movie’s about women who are hired to heighten their emotions, to create a false sense of drama to the proceedings. Meily sets a nice contrast by keeping things light. The movie saves its tears for a few select moments, and these scenes glow far brighter because of it. The movie seems to understand that there can be just as much drama in a casual conversation as there is in a screaming match, just as long as you set it up properly. And when it works, it’s beautiful. It also helps that Lee Meily’s cinematography is just stunning, giving the scenes their own sense of visual drama. So in short, the film doesn’t somehow be challenged but it may be somehow reinforce in some other aspects but in all, this film gave a highly-quality standard in the entertainment scene. 13. Does the film represent some aspect of culture using a cultural relativistic framework? The film does touch the cultural orientation of the Filipinos most especially the Chinese. Because Chinese ethnicity, customs, backgrounds, and traditions were seen in every part of the film. Since the situation was a funeral wake, audience sees how a Chinese family and relatives make effort to commemorate a person who passed away. The film touches the culture of the Filipino in a way that it shows how a Filipina makes many ways and solutions for her to deal with life’s problems. It also shows how Filipinos can in truth be strong-minded and as a result, be successful even though suffering from a poverty life. 14. Are power relations between the filmmaker and those filmed apparent in the video? This film is really different from the common interest of the Filipinos which it made a huge hit for our country. Since movies rarely touch a story about paid mourners (actually this movie has its first to tackle paid mourners. Actually Filipinos do not know that there really is what we called crying ladies for the wake) and also the story evolves and revolves around a funeral wake and what is uncommon for this is that it is not a Filipino funeral but a Chinese funeral. And what you can see the different traits of each character that supplements the whole story and makes it fonder to observe and understands. "Crying Ladies" is one of the few Filipino films that can combine mainstream cinema with substance. Crying Ladies still stands out as one of our best movies in the last ten years. The lightness that Meily brings to the film is a striking contrast to the overbearing drama that’s become too common in our cinema. It’s this lightness, this emotional sophistication that was sorely missing from

Baler (Meily’s latest movie). Five years on, Crying Ladies still feels fresher than most of what comes out these days. 15. How “real” is this film? It is real because the actor’s characters are based on the Filipino especially the women who are struggling with life and life’s temptations. It is real in a sense that it tackles more about the culture of the Chinese. It is real that you can empathize the emotions that the characters or actors release for the reason that you can relate with them. Does it seem more like a highly edited production (as are all texts) or less produces/ ethnographic? Honestly, it was less produced and mainly it is more likely to be an indie film. Because of the less production cost of the film. Also I noticed that this combination of humor and pathos just doesn't work given the material. Koronel gets the short end of the stick plot-wise, and the subplot revolving around Aquino is just lame. Watching Crying Ladies again after all these years has brought out some of its flaws. The editing isn’t great, with some scenes just losing their flow due to an odd cut or a continuity issue. And again, a couple of these plotlines just don’t get the time that they deserved. At 110 minutes, maybe the movie could’ve just done without these stories all together, giving more time to develop the movie’s two strongest plotlines. There are also odd bits here and there that involve product placement and the world’s nicest five-six. 16. Is the focus of the film properly contextualized? How so? Yes in over all picture you can see the worth of the context but unfortunately in some aspect, it is not properly contextualized. I do agree that the developments given for Choleng and Doray were rather odd and deserved a much realistic choice. Crying Ladies was Mark Meily's first feature-length film, and its light treatment is a refreshing approach to a dark subject. And although death and the funeral ceremony are never trivialized, the plot and dialogue are sprinkled throughout with bits of wry humor, especially in the continual allusions to "Darna and the Giants," a 1974 B-grade horror movie in which Hilda Koronel, the actress who plays Ailing Doray, actually appeared. The best thing about Crying Ladies is that it never pretends to be more than it is: a poignant story of four families doing their best to heal a lifetime of pain. Crying Ladies is a sweet film with a message of forgiveness and hope, and what it may lack in profundity, it more than makes up for in heart. Nonetheless, Crying Ladies is a comedy, and true to form, all's well that ends well when the outcome of the characters' lives are revealed in its uplifting epilogue. How might be the film be better contextualized? I would like that the developments of the characters must have a more realistic, sensible, and practical that it will not touch the anomalous stage that the audience would not believe it already. Also make the story of the characters, if it is a trio, make the three stories of the characters dominant in the film not only on one character given that we must see the equality and congruity of each of the characters’ story. This movie just focuses on the two characters which are Stella’s story and Wilson Chua’s story. Also if you produce a new and fresh film, make sure that it is properly edited and creatively done. Lastly, a couple of these plotlines must get the time that they deserved in order for the viewers to further appreciate every scenes. And make the story focuses on the setting rather than splitting on the different stories that is unnecessary for the setting.