Beruflich Dokumente
Kultur Dokumente
In Art Appreciation
“Crying Ladies”
Submitted by:
Don M. Velasquez
Submitted to:
Sir Miller Duron
February 29, 2009
1. Is there a larger theme or cultural worldview inherent in the story?
Yes, it has a large topic. And the subject matter for the movie, Crying Ladies, is that even if
there are many struggles in life, we make sure that we must think constructively and have many ways
to make our life be better. It has a worldwide inherent in which in the movie, it gives you an idea about
how the Chinese-Filipino society commemorates a conventional wake and the process that it goes
everyday (to preparations until the day of the burial). Actually, the story revolves around these three
ladies who each have their own story to tell, with their own struggles and challenges to face. And to
sum it all up, some women cry out of sorrow. Some women cry out of joy. These women cry for
money.
Is there a match between the speaker who you see the voice associated/ assigned to him/her?
Yes, there is a match between the speaker and the voice because the voice and the speaker
are only one. They speak through what they act and what they undergo during the film. As you can
see, you can relate with the characters because in the sense that the character's role really can be
seen in each one of us everyday. It just shows that they just illustrate in their behavior a stereotypical
Filipino.
7. Is there a narrator?
No, it has no narrator at all in the film because as you can see on the film, it is easily
understood by the viewer itself. The scenes ware almost self-explanatory and it adds that it is a
reality-life based film that can really empathized the viewers not just for Filipino people only but also
other people of the other culture.
8. Are the voices of the narrator and the people filmed on equal par?
No. Because the only voice in the film is the third person limited. A third person limited narrator
whose knowlegde is limited to one character, either major or minor, has a limited point of view. It is
limited to the one character with whom the story is being told through
To what degree is the intersubjective nature of film/ filmaking apparent in the final product?
The characters were describing through their actions and conduct it. Every character has a
different story on the film and they all entwine with one specific agenda which is crying in the wake. It
shows that every character really play a part on the film that makes it more appealing and
exceptional from the other film because as you can perceive, the characters are somehow familiar but
on this film, they make a lot of twists and other bizarre individuality that makes it supplementary
remarkable.
9. Who are the major characters in the film?
Sharon Cuneta .... Stella Mate
Hilda Koronel .... Rhoda "Aling Doray" Rivera
Angel Aquino .... Choleng
Eric Quizon .... Wilson Chua
Julio Pacheco .... Bong
Ricky Davao .... Guido
Shamaine Centenera .... Cecile
Johnny Delgado .... Priest
Sherry Lara .... Mrs. Chua
Raymond Bagatsing .... Ipe
Are women visible in the film?
Yes they are visible on the film and it shows empowerment for the women because it revolves
around three ladies searching for their right paths in their miserable lives. Femininity definitely rules
this movie and will definitely inspire our modern Filipino women..
11. Does the film rekindle any thoughts in regard to the politics of representation?
The film represents the life of usual Filipina, the Chinese-Filipino community as in relation with
the Filipino community and the problems encountering of our society today which is poverty, lack of
discipline, and some uncertainties in life (broken family, unfaithfulness, etc.).
13. Does the film represent some aspect of culture using a cultural relativistic framework?
The film does touch the cultural orientation of the Filipinos most especially the Chinese.
Because Chinese ethnicity, customs, backgrounds, and traditions were seen in every part of the film.
Since the situation was a funeral wake, audience sees how a Chinese family and relatives make
effort to commemorate a person who passed away. The film touches the culture of the Filipino in a
way that it shows how a Filipina makes many ways and solutions for her to deal with life’s problems. It
also shows how Filipinos can in truth be strong-minded and as a result, be successful even though
suffering from a poverty life.
14. Are power relations between the filmmaker and those filmed apparent in the video?
This film is really different from the common interest of the Filipinos which it made a huge hit
for our country. Since movies rarely touch a story about paid mourners (actually this movie has its first
to tackle paid mourners. Actually Filipinos do not know that there really is what we called crying ladies
for the wake) and also the story evolves and revolves around a funeral wake and what is uncommon
for this is that it is not a Filipino funeral but a Chinese funeral. And what you can see the different
traits of each character that supplements the whole story and makes it fonder to observe and
understands. "Crying Ladies" is one of the few Filipino films that can combine mainstream cinema
with substance. Crying Ladies still stands out as one of our best movies in the last ten years. The
lightness that Meily brings to the film is a striking contrast to the overbearing drama that’s become too
common in our cinema. It’s this lightness, this emotional sophistication that was sorely missing from
Baler (Meily’s latest movie). Five years on, Crying Ladies still feels fresher than most of what comes
out these days.
Does it seem more like a highly edited production (as are all texts) or less produces/
ethnographic?
Honestly, it was less produced and mainly it is more likely to be an indie film. Because of the
less production cost of the film. Also I noticed that this combination of humor and pathos just doesn't
work given the material. Koronel gets the short end of the stick plot-wise, and the subplot revolving
around Aquino is just lame. Watching Crying Ladies again after all these years has brought out some
of its flaws. The editing isn’t great, with some scenes just losing their flow due to an odd cut or a
continuity issue. And again, a couple of these plotlines just don’t get the time that they deserved. At
110 minutes, maybe the movie could’ve just done without these stories all together, giving more time
to develop the movie’s two strongest plotlines. There are also odd bits here and there that involve
product placement and the world’s nicest five-six.