BONGGA ang kinita ng pelikulang Hello, Love, Goodbye ng Star Cinema na umabot ang gross sales na P880.6 million.
Kahit tipikal ang kuwento na pinagbidahan nga lang nina Kathryn Bernardo at Alden Richards, pero nadaig nito ang huling pelikula nina Kathryn at Daniel Padilla na The Hows of US na sa tingin ko ay mas magaling doon si Kathryn.
Sa naisuat ko recently na mas nag-level-up si Alden sa kanyag acting base sa pamantayan ko, parang walang nagbago kay Kathryn na ang awards na nakuha niya recently na patunay na lang yun na hindi kagalingan siya sa pelikulang ito ni Direk Cathy Garcia at mas lumutang si Alden.
On the other hand, mula sa ibayong bansa, may komentaryo ang film critic na si Mauro Feria Tumbocon, Jr., Artistic Director, FACINE na based sa San Francisco, California sa Amerika.
Narito in full ang kanyang puna at pagsusuri sa pelikula:
A movie that grosses over P500 M in less than a week should prove the Philippine industry’s doomsayers wrong that the movie industry has not died, rather it is not dying after all, right? That is what Cathy Garcia-Molina’s latest love confection seems to say – at the same time, cementing its lead star, Kathryn Bernardo, as the queen of box office, that is, if this movie turns out to be the year’s biggest, this will be the second year of Bernardo’s reign in the tills.
However, that is not the real picture. The rest of the industry is still suffering, continues to face daunting challenges posed by the government itself, and Hollywood.
HELLO, LOVE, GOODBYE opens with an exciting premise – an OFW domestic help in the daytime, in her effort to augment her income, works odd jobs at night; the catch is it is against the law: so, we see the protagonist running away from the ever-surveilling HongKong parak (police) – which chase scene seems to bid something interesting – she ends up hiding behind big piles of trash. Wow! The now-too-common narrative of a Filipina professional – Bernardo’s character, Joy, finished nursing in the Philippines – who, without a choice now works as caregiver-cum-nanny, a position she herself admits as demeaning because she wants more – for her family, for herself – that is why she works two jobs also to raise money to be able to migrate to Canada.
The story hints at a lot of possibilities – a discourse on immigration and challenges of domestic helpers in HK (a SUNDAY BEAUTY QUEENS territory indeed!) through a popular genre, the romantic-comedy, but fails on several levels: the generic limits of a Star Cinema-formula of romcom, still with its bloated music score, for example; the unfocused writing – is it family, is it me; and Bernardo’s sophomoric skills as actor, in most scenes, you get a sense she plays to the gallery, with nary an understanding of the gravity of her character’s dilemma, her lowly station in life, etc; ah,yes, she can cry on cue, that is it, one gets a glimpse of her trying to see where the camera is when she does it, hahahaha … Will somebody coach her how to act, please? Start with, what is my character? Why does she act, think, like she does. LOL
– Mauro Feria Tumbocon, Jr., Artistic Director, FACINE
Pahabol lang sa mga hindi hindi nakakakilala kay Mau (tawag namin sa kanya); dati po siya member ng Manunuri ng Pelikulang Pilipino bago siya nag-migrate sa Amerika noong late 80’s.
Palabas pa rin ang pelikula sa mga sinehan sa bansa at overseas.
By RK Villacorta