A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Phillip Salvador. Show all posts
Showing posts with label Phillip Salvador. Show all posts

Sunday, July 20, 2025

Bona (Lino Brocka, 1980)

Nora Aunor and Phillip Salvador in Bona

Cast: Nora Aunor, Phillip Salvador, Marissa Delgado, Raquel Monteza, Venchito Galvez, Rustica Carpio, Nanding Josef, Spanky Manikan. Screenplay: Cenen Ramones. Cinematography: Conrado Baltazar. Art direction: Joey Luna. Film editing: Augusto Salvador. Music: Max Jocson, Lutgardo Labad.

Nora Aunor, who was a superstar in the Philippines, gives a fine performance in the title role of Bona, Lino Brocka's portrait of toxic masculinity. Hanging out on the fringes of a location shoot for an action movie, Bona develops a crush on Gardo (Phillip Salvador), a good-looking bit player who has aspirations to stardom. Gardo notices her and starts letting her run errands for him, but when she neglects her duties in her large working class household, her irascible father (Venchito Galvez), beats her with his belt. Bona moves into Gardo's shack in the Manila slums, serving as his housekeeper. He's a drunk and a layabout with a succession of girlfriends, but he's not as given to violence as Bona's father -- or, as we will see, her older brother. Their relationship gradually disintegrates until, expelled from her family and threatened with abandonment by Gardo, Bona finally takes revenge. It's a solid domestic melodrama given bite and purpose by Brocka's characteristic attention to the actuality of life on the fringes of Philippine society.