Back in the mid-’60s, the Rolling Stones were the ultimate Bad-boy band, known for their kick-ass, blues-inspired rock ’n roll. This was in contrast to the gentler pop sensibilities of the Beatles. So everyone was taken by surprise when the Stones came up with one of the gentlest classic ballads of the decade, As Tears Go By. Here they were, the avowed "devils" of rock, singing about grown men crying. This image, and the ready pun on the title of Star Cinema’s latest offering, stuck in my mind as I began to write this review.
As expected, on one level, Dubai is a paean to the Overseas Filipino Workers (OFWs). The nobility of the quest, the hardships that are endured, the camaraderie engendered within the transplanted Filipino community – these are all held to the light and given due recognition. But Dubai is successful in that it never loses sight of what it is in essence – a film, a dramatic vehicle meant to entertain and to produce catharsis. And it is in this regard that the turbulence and fragility of human emotions (whether suppressed or ultimately exposed) bestow the film its special quality, giving us the repeated spectacle of grown men nobly crying.
Director Rory Quintos has assembled a cast that knows how to mine the audience’s vein of compassion and sympathy. Aga Muhlach and John Lloyd Cruz are doe-eyed brothers Raffy and Andrew, and the luminous Claudine Barretto is Faye. Raffy is already stationed in Dubai as the film begins, working for a forwarding company. The opening credits and musical score introduce us to Raffy with a deceptive upbeat feel of a desert "road film." For a moment, one could even imagine this is the wandering TNT Filipino driving towards Las Vegas rather than the Middle East, until the camel on the road (as opposed to our carabao) brings us back to the reality of Raffy’s situation. He then proceeds to the airport to pick up his younger brother Andrew, who has come to Dubai to work for a resort hotel.
With a couple of days on hand to explore Dubai before his work commences, Andrew bumps into Faye (Claudine) who works for an amusement park. She’s on her cellphone, obviously talking to a guy giving her "heartache." Andrew is smitten, and no prize for guessing who was on the phone with Faye. Coincidence is the gift of dramatic invention!
Thus, the stage is set for the very human drama that unfolds. At the onset, Raffy is portrayed as a nonchalant womanizer, yet blessed with a heart of gold, helping all the other OFWs he comes into contact with. Raffy is ever ready to part with his hard-earned money when any Tom, Dick or Harry comes with his or her sob story. This frustrates Andrew, who views Dubai as a mere detour on the siblings’ road to Canada. Ever since they were boys, Canada has been etched in their minds as that dream destination; where reunited, true fortune awaits the two brothers.
The elements of the plotline are not unique in themselves. They could form the core of any teleserye or drama series we view locally. It’s the competence with which Direk Rory handles the material ,and how the three main characters go through their paces, that make Dubai a pleasure to view. The fact that they are in Dubai also impinges in ways that are unique. An example of this is how, when Faye gets pregnant, the pressing issue is not whether to keep the child or to marry, but how to get out of Dubai as quickly as possible. Apparently, as an unmarried OFW, her pregnancy, when detected, would get her imprisoned.
Direk Rory handles this shooting on location excellently. Early on in the film we do get the standard travelogue film element. This is achieved with the excuse of Faye showing Andrew around Dubai. But as opposed to other Filipino films shot on location that can never stop reminding you of where they are, and what they’ve spent to get there, Dubai quickly becomes mere backdrop for the ensuing drama. It is an integral part of the drama, but never overshadowing the lives of the protagonists. Even the "big picture" message of the film–the nobility of the OFW - is limited to the speech-making Raffy indulges in at a wedding reception. It is to the credit of the screenplay of Ricky Lee and Shaira Salvador that this "smaller picture" holds sway throughout the film, giving more credence to the "big" message when it does come. The cinematography is consistently good throughout; more than I can say for the sound. I‘m not sure if it was the particular reel I got to watch; but early on, the quality of sound was a little muffled. Fortunately, this improved as the film progressed.
Aga is excellent as Raffy. His facial expressions carrying more "dialogue" than words could express. This is especially true as time and time again, Raffy will mouth out that it’s over between him and Faye, and yet his eyes and the way he’ll look at Faye betray him. Claudine has played this role umpteenth times, but her "martyr to love" persona takes on new dimensions when a steely, determined side rears its head as she makes her hard decisions. John Lloyd is a revelation, holding his own in his scenes with Aga, and proving he is also up there when it comes to grown men crying without looking silly or stupid, and remaining sympathetic.
The film is a tribute to the diaspora of the working Filipino; and how it is linked to the survival of our economy over the last couple of decades. Individually, the OFW is motivated to provide for his family, ready with self-sacrifice in the pursuit of making life better for his relations back home. But as a sociological phenomenon, the OFW is the face of the Philippines in whatever country you may find him or her. The bonds of family, the Catholic values, the bayanihan spirit, the veneer of hypocrisy, and the habit of "saving face": these all form part of the deep-rooted ethnicity that is uniquely Filipino. It may mutate or evolve depending on the social situation or context, but there will always be something that makes the pagka-Filipino shine through. Dubai the film, and all the tears that flow, is a reflection of the glittering prize and aspiration that compels us to improve on our lot. Rated B by the Cinema Evaluation Board, it is a worthy addition to the roster of films that explore how OFW’s have become such an integral part of our contemporary history.