Excellent direction and storytelling win over music

Film review: Emir

MANILA, Philippines - There are many things going for Emir touted as the first Filipino musical on film. In the past, you have heard of another filmed musical called Sinta under the helm of Ateneo’s Onofre Pagsangjan. I knew that it was a hit on stage but couldn’t figure out if it took off in its film version.

But Emir offers a grander scope as the setting moves from Ilocandia and the Banaue Rice Terraces to the Middle East and shot mostly in Morocco. It availed of the services of the Philippine Philharmonic Orchestra with composer-conductor Chino Toledo as musical director and with several co-composers — namely Gary Granada, Vin and Ebe Dancel and Diwa de Leon — pitching in with several songs that highlighted the story of the musical. The choreography of Douglas Nierras didn’t call attention to itself. But that streetdancing in the streets of Ilocos was a riot with a church-bound procession providing a contrast to a stream of overseas Filipinos (nurses, caregivers, waiters, etc.) headed for various foreign destinations.

The first winners of this musical is the versatile singing and acting ensemble composed of Bayang Barrios, Beverly Salviejo, Bodjie Pascua, Dulce, Emil Sandoval, Gigi Escalante, Jhong Hilario, Julia Clarete, Kalila Aguilos, Liesl Batucan and Melanie Dujunco, among others.

They sang with such vocal flourish but even more commanded attention as singing actors. The internal intrigue between household helps in the sheik’s Morocco household was symbolic of the factionalism of Filipinos anywhere they go but the film managed to project Filipino values for what they were and even managed to be appreciated by the Arab employers.

The natural talent of Frencheska Farr as Amelia managed to reveal the many sides of the overseas Filipino worker. In her, you see the Filipino as a hardworking, patient, dedicated and loving yaya. The voice has an unpolished but natural sheen that went well with her acting. Her transition from yaya to a dignified balikbayan in Paoay was remarkable. Meeting another yaya-to-be in the street of Paoay, she had a sense of déjà vu: Another Pinay is ripe for another overseas job. The embodiments of forebearing parents found stirring personification in the acting of Bodjie Pascua.

Frencheska did very well but partnered with singer Dulce in one crucial scene when the latter was about to leave the Morocco household, the singer turns in a moving portrayal as she sings about the need to seize golden opportunities abroad but also relieved that she would finally be back in the arms of her family. Dulce’s acting and singing in this part of the movie might as well be the soul of this musical. The voice had poignant focus, the accompaniment of the Philippine Philharmonic was by turns grand and precise and you could have shouted Bravo after that musical number. Dulce is definitely my Best Supporting Actor nominee in the next awards derby.

Another good actor in the cast was Jhong Hilario as the suitor of Amelia. His excellent acting projected the decent if, perservering and trustworthy overseas Filipino worker. (But you know he could do a hateful part like his scheming role in a popular telenovela.)

As it was, this musical has many song genres from pop to contemporary and with a little bit of jazz and rock. Whether the works of a team of composers produced a cohesive musical is quite debatable. Technically, the movie is well-polished and both natural sound and music are in perfect synch. But in the hands of four contemporary composers, the musical has an unsettling mixture as the gentle monologue of Amelia — about her foreign sojourn towards the end of musical — was suddenly jarred by rock dancers singing about the country’s tourist yayas in the main theater of CCP.

At the most, it was Chito Roño’s storytelling that won the day. His sense of humor and satire and his insight into the psyche of the overseas Filipino worker is deep and profound.

It being thus, I find Emir a highly recommended film.