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Filipina actress Vilma Santos stars as Amanda, who realizes the implications of living within a dictatorship after sorting out the contradictory reactions of her husband and five sons.
Her third son Emanplayed by Filipino actor, Marvin Augustin, writes illegal political exposes. The fourth son Jasonplayed by Filipino actor, Danilo Barrios fell victim to a corrupt police department, and her youngest son named Bingoplayed by Filipino actor, John W. Sace, is still a boy.
Her husband, Julian Christopher De Leonseems a walking contradiction: As for the sons, firstborn son Piolo Pascual joins the guerillas in the mountains. The second son Carlos Agassiforced into a shotgun wedding, defiantly works for the American Navy.
The fifth son John W.
Sace is still a boy. Pic begins and ends with images of Santos at the forefront of a political demonstration, and nothing, from first image to last, for minutes, is allowed to spontaneously or slyly deviate from the logic of her consciousness-raising.
This is the story of an incredible character that survived an unforgettable decade. The competent production design, the agile editing, the stark photography which impresses even the Paris-based Filipino-Spanish painter Sanso who calls it comparative to the best in Europe ensures a panoply of images that is immediate, recognizable, and keen.
Like Regal Films, Star Cinema has been compelled to throw in its stable of stars so that the Bartolome siblings look distractingly too much like a boy band. But because they play well-thought-out characters, their damage is put to a minimum.
In some cases, like Piolo Pascual as Jules, the young communist rebel, the effect is heart-wrenching. Pascual plays, along with Vilma Santos as Amanda, one of the centers of gravity of the movie; the other center consists of Santos and Christopher de Leon.
Their age, generation and preoccupation divide both men, and Amanda serves as their bridge and transition. In the process, Amanda herself is transformed. The most moving scenes of the movie are of Jules and Amanda meeting on the sly and forced to carry on mother-and-son endearments hurriedly because of the threat of arrest.
But the most poignant scene is Julian and Amanda confronted with the terrible loneliness of their advanced years, left by their children, he turning away from her to hide his tears, and she asking him to face her and not to be ashamed. As Amanda, Vilma Santos shows again why Brocka, before he died, had likened her to water.
The only difference is the depth, the resonance, and the greater confidence. Can she ever go wrong? Napanatili ang kaluluwa ng nobela sa pelikula sa kabila ng limitasyon ng pelikula bilang isang audio-visual na medium.
Marahil, nakatulong ng malaki ang pagkakaroon ng iisang manunulat lamang.
Ang musika at tunog ay madalas na akma at nagpapaigting sa emosyong nais ipahatid ng pelikula. Thoroughly relegated to domesticity in a world slathered in testosterone, Amanda begins to undergo a transformation when her family becomes imbricated in the sociopolitical realities brought about by the Marcos dictatorship.
As one son after another faces the oppressive forces of the dictatorship, Amanda gradually realizes that the personal is political. While chanting slogans for sociopolitical change, she finds her own voice and comes to terms with the fullness of her own person…There are touches of seventies style Filipino humor that foreign audiences might miss; they effectively establish that this is a real, average Filipino family trying to navigate through the eye of the political storm.
The acting is generally impressive, most especially that of lead actress Santos, who gives a luminous, sensitive performance. Santos essays the transformation of Amanda so effectively that we do see clearly at the end of the film that there has been a fundamental change in her character.
Some jurors, viewers and reviewers have expressed dissappointment over it because they regard it as too passive, low-key, unemotional, too much taken up with observation, and reflection instead of action. It was only later, when the national trauma of martial law rule affected her sons in various tragic ways, that she found the voice and rediscovered the heart to assert herself as a person and to give her emotions full play.
Thus, when she finally changes and expresses herself in the end, the contrast makes her transformation all the more stunning.While I’m on a classic reading binge, I thought it only fair to include a Filipino classic novel (written in Filipino).
[Book:Dekada ‘70] translated in English as “Decade ‘70” is an account of a woman living in a “man’s world” during those difficult years when Martial Law was declared in the Philippines/5. Dekada ’70 is a film about the life of a Filipino family during the Martial Law.
As one of the members of the family was involved in an organization fighting for democracy, the family’s situation is really in a riot. Contextual translation of "ano ang kasukdulan ng dekada 70" into English. Human translations with examples: bbbbb, what is, dekada 70, perfection, ano ang supply.
0; Professional Translation Service; what is the climax of . Fandango iOS App Fandango Android App Guarantee the perfect movie night with tickets from Fandango. Find theater showtimes, watch trailers, read reviews and buy movie tickets in advance. Dekada '70 (lit.
"The ’70s") is a Filipino drama film released based on the acclaimed novel by Filipino author, Lualhati Bautista.
The film was restored by . – Dekada 70, A Book Review “ For ten consecutive years from to , the Philippines submitted films for consideration for the Best Foreign Language Film category of the Oscar Awards.