The art of moving on

MANILA, Philippines - Film review: And I Love You So

Star Cinema’s And I Love You So continues the film company’s fine tradition of creating films that tackle sensitive subjects in a manner that manages to merge mainstream entertainment value with depth and compassion. In the Bea Alonzo/Sam Milby/Derek Ramsay starrer, directed by Laurenti Dyogi, the subject is the death of a loved one in a young marriage, and the handling of loss, grief and the inevitable need to move on.

A 24-year-old pre-school teacher, Lara (Bea) seems to have everything coming up roses in her life. Marriage to Oliver (Derek) is on its fifth month and Hallmark cards have nothing on her in terms of sweetness and fulfillment.All this is shattered when Oliver has a fatal brain aneurysm. Suddenly, her world is turned upside-down and reality checks of maintaining their apartment, meeting the rent of the school Oliver put up for her, and the relentless loneliness and pain, raise their ugly faces. It’s when looking for someone to take over the conjugal apartment that Lara encounters Chris (Sam), himself a wayward, anchorless separated husband, whose wife cheated on him. 

The misunderstandings (when Chris comments that his wife is dead as far as he’s concerned, Lara believes it’s death in the literal sense), the slow burn of mutual attraction spurred by genuine friendship and companionship, the sense of betrayal and the refusal to let go of what Lara perceives as the perfect love she had with Oliver; all these drive the plotline of the film that bravely swings from humorous situations, to pathos and the sadness that touches the lives of Lara and Chris. Kudos to Vanessa Valdez and Jacqui Franquelli’s screenplay, and Laurenti’s direction, for pulling no punches in showing the drastic mood swings and desperation that accompanies death and loss, while still making all three characters sympathetic (Lara continues to have dialogues with Oliver’s ghost when internalizing her problems). 

The film is also a welcome reminder of Laurenti’s directorial prowess in handling material of this sort; as he evinces a stunning performance from Bea. His handling of the support cast is equally adept, as we remember the likes of Candy Pangilinan, Dick Israel, Maricar Reyes, and humor-laden instances when we “meet” the other women who flit in and out of Chris’ life before the Chris and Lara relationship securely takes center stage. If pushed to state what I perceive to be a weakness in the film, it would be that at times, there is too much speech-making — as when Lara says sorry to her mother-in-law, and the scene between Chris and Lara at the balcony of the church where Candy’s character’s wedding takes place. For me, brisker editing could have made the scenes more effective. While I know this may be the screenplay writers playing “All I would want to say if in this situation,” it struck me as less than real, that one would be so emotional and yet so verbose, or that the other person would not have their own two cents’ worth to add, but that’s just me.

The bittersweet resolution to the relationship of the two is bravely done, and while there is a requisite “happier” second ending to give the film its ultimate feel good vibe, the road taken, with its generally mature handling of the material, is what makes the film sparkle.