Director: Sean Ellis
Writers: Sean Ellis, Frank E. Flowers
Starring: Jake Macapagal, Althea Vega, John Arcilla,
Moises Magisa
Synopsis: A farmer, Oscar (Macapagal), his wife Mai
(Vega) and his two children are struggling on the rice hills of northern
Philippines. In hope of finding prosperity they move to the bustling
metropolitan of Manila. As difficult as it is finding work, Oscar finally gets
hired as an armoured truck driver/security. It’s a dangerous job that magnifies
the criminality and corruption around him.
Cinematic vérité is a tough aesthetic to crack - it relies on
believability in the work of fiction. Sean Ellis’ Metro Manila is one of the latest films able to
capture a realism that’s practically faultless.
Even with a run-time that feels slightly longer than it
should in sections, the majority of the editing and structure is brilliantly
handled. Starting the film off with a brief but informative character and
setting introduction, Ellis sets a tone that is intrinsic up until the last
shot. It is mostly a migrant story, with some crime thriller integrated into
it, reliant on the gloom of the dog-eat-dog world outlook. The crime aspect
will not play into the film until half way, but from the start it's without a
doubt that this is aiming to be a biting and elegiac drama (and nothing but
successful with this aspiration). You are never without sympathy for Oscar and
his family, achieved through a meticulous combination of writing and acting.
The role of the husband is commonly the one who brings home
the bread. Oscar is the epitome of this persona, constantly striving
to protect his family and give them all he can. Played with undeniable and
awards-worthy elegance by Jake Macapagal, this is one of the most caring and
altruistic husband/father characters since George Bailey. Oscar is the common
man, both fearful and brave when it comes to facing harsh realities. As he
becomes close to his armoured car partner, Ong (John Arcilla), he greatly
highlights the decency of man aside the more flawed representation of humanity.
Also trying to help the family is Oscar’s wife Mai. As
perilous as Oscar’s job can be, Mai is part of a seedy men’s club, having to
strip away her innocence in order to get money. As the audience see the grim
life Mai has to experience, Oscar can only imagine. In one heartbreaking scene,
Oscar fights the tears away during a night out with co-workers - his tears
mixing with the liquid of copious alcohol - thinking to himself of what Mai is
concurrently having to do.
Moments of drama and upset are always touching – Ellis
knowing how to create an atmosphere expertly. The scenes of tension and
violence equal Ellis’ dramatic capabilities, with action ferocious and
heart-pounding. The armoured car focal point could have been exploited with
several stick-ups and hijackings but Ellis holds back, making the moments
all-the-more nail-biting because of it.
Ellis’ direction, cinematography and writing (co-credited
with Frank E. Flowers) are stunning, anchored by a sterling cast and location
work. Nearly every element seems honed to perfection, with a superb ending to
certainly leave a definite impression. Occasional scenes drag out but this is
mostly an artistic and acting triumph.
****
No comments:
Post a Comment