the bona effect


that goes with a free punch, literally

that goes with a free punch, literally

In commemoration of Lino Brocka’s 18th death anniversary, it’s Brockamania! at mag:net café’s cineKatipunan for the month of May.

Dylan, Dai and I were able to catch the 26th movie from cineKatipunan’s calendar roster. A film created in 1980, Bona is a self-titled story of an 18-year old woman who gave up her family and her stature, and wilfully enslaved herself just to be with her movie idol.

Nora Aunor plays the female protagonist, Bona whereas Philip Salvador portrays the self-absorbed, failed movie star, Gardo. Inasmuch as I would like to share my insights about the movie in detail, here’s a comprehensive review from Noel Vera of Criticine.com that perfectly elaborates the movie’s plots and its characters.

After watching Bona, we caught ourselves clapping while staring blankly to each other with weird expressions. Three words to describe what we felt—shocked, appalled, and disgusted. Gardo’s acute narcissism is unforgivable. Bona’s fixation on Gardo is unbearable. It was depressing to see how the relationship was a one-way street. Again, a cathartic moment for us, yet as Noel Vera puts it on his review:

Bona is a masterpiece of acting, psychology, self-revelation, realist cinema; we study it for its subtleties (of which I think there are many), but finally we experience it as a cathartic drama, an occasion for identification and reflection. Viewing the film, we see uncomfortable reminders of ourselves, by turns exploring and exploiting, seducing and betraying, adoring and abusing. Viewing the film, we realize that we are our own martyrs and monsters.

For Lino Brocka, I can say he did superb for this movie. For Nora Aunor, she effectively portrayed the character. For Philip Salvador, apart from being the director’s protege and the obvious good looks and bod *evil grin*, the role fits him very well.

As for Dyl, Dai and I, we got the post-bona effect we deserve.

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