The irony of love & marriage

While on the surface, Star Cinema’s A Love Story looks like your classic “love and marriage” triangle, its twists and turns provide us  something with much more substance and “food for thought.” As advertised, we’re first challenged to take a wild guess on who will be the mistress, and who is the wife of main character, Ian (as portrayed by Aga Muhlach). It won’t take a genius to figure out that with Maricel Soriano and Angelica Panganiban as Aga’s leading ladies, all we have to do is guess against type. But having said that, I was constantly surprised by the maturity and depth of Vanessa Valdez’s screenplay and the adroit handling of the material by director Maryo J. de los Reyes. They both have much to be proud about. Here is a film that tackles the issues of love, marriage, infidelity and family in the Filipino context with razor sharp scrutiny, and more importantly, commensurate compassion.

I say compassion because the striking thing about the film is that it takes no sides. Each main protagonist has his or her strengths and corresponding glaring character flaw. Much as in the real world, there are no blacks and whites in the treatment of the issues or said characters; rather we are treated via flashback, to a deeper understanding of what has brought these three characters to the emotional point in their lives when we meet them on screen.

We each come up with our own kneejerk reactions to what these characters resort to. I, for one, had a dislike for Angelica’s character when she brought up her pregnancy in what to me, felt like emotional blackmail. And yet, understanding how much younger she was, more immature and acknowledging her rights as the wife, I also understood her right to bring up this “trump card.” And I know the women in the audience were more moved with her disclosure and plight, rather than reacting in distaste like me.

Here is a film that works both as domestic tearjerker and insightful discussion “provocateur.“ The three principals all cry wonderfully — and while I know that sounds facetious, I hate those films where the artist has his or her face all tear-stained, with snot running down their noses, and faces contorted to the point of “ugly.” With Aga, you actually have a man who can cry, and still look great and sympathetic. Both Maricel and Aga essay their roles with consummate ease. Their facial expressions, delivery of lines, their asides, all help bring home the characters they’re portraying. Angelica holds her own; but there are instances when the awe she probably holds for her co-stars does reveal itself. This more so in her scenes with Maricel. I watched Santa-Santita and saw a very bright future for Angelica and her acting prowess; and you see gleams of that here, but I wish she exhibited a bit more gumption and conviction in those aforementioned scenes.

 In the support cast, I would single out Dante Rivero as Ian’s (Aga’s) father; suffering from Alzheimer’s, and being a constant source of frustration and pain for Ian.

The screenplay is chockful of little and bittersweet ironies, and they make for the very poetic overlay that infuses the film. While there are moments that meander, one is always conscious of the very “muscular” approach to the film. Thanks to direk Maryo, there’s a very direct, full-speed ahead approach to plot development and  storytelling. It’s an “adult film” in the very best sense of the phrase; and while some may find the film  a throwback to the films of the ’80s, it’s a welcome respite from the deluge of youth-oriented and general entertainment films we’ve been getting.