A friendship deeper than love

Film review: Pare Mahal Mo Raw Ako

MANILA, Philippines – Many things are going well for Joven Tan’s Pare Mahal Mo Raw Ako, one of which is that it is well-written.

He allows his character (Edgar Allan Guzman) some deep moments of reflection even as he pursues his love for his best friend (Michael Pangilinan).

The good writing allows some supporting characters (Joross Gamboa and Matt Evans) to recall their first brush with casual gay sexuality in their elementary and high school days even as they try to cope with a common friend in a deep dilemma between love and friendship.

The recollection has its funny moments and some awkward ones too and they fully define the characters played by Gamboa and Evans. The character of Gamboa admitted he relented because his classmate helped him finish his term paper and the episode of the once grade schooler character of Evans happened in grade six.

As it is, the film avoids the predictability of most gay-themed movies and as a result, you see a well-written and a well-directed film narrative about love and friendship.

It has no sizzling bed scenes to excite the voyeurs and here you see the character of Guzman expound that that while he loved his best friend, he never tried as much as to take advantage of him even in their drunken moments. He is his best friend all right but he loved him, too. The trouble is one of his best friends (Katrina Legaspi) is already the girl friend of his best friend.

The movie resolves the inner conflicts with tales of denial and later — acceptance.

It turns out the movie is based on a prize-winning song interpreted by one of the actors (Pangilinan) and indeed it is one of the endearing features of its musical scoring.

As it is, the film turns out to be a good acting vehicle for Guzman who makes every moment of the film his own. His monologues help resolve the inner conflicts of his character and he acts and reacts fully in character complete with well-nuanced layers of emotion. Thus far, this is his best acting vehicle and one won’t be surprised if he gets nominated in the next acting derby.

Pangilinan’s character is a good foil for Guzman who tries to squeeze any semblance of love from his good friend. But Pangilinan’s listless nature becomes a good contrast to the highly-emotional state of Guzman.

Poles apart in outlook, the rapport is forged in a natural way making the characters connect in an illuminating way.

The surprise appearance of Nora Aunor as the gay mother of Guzman is another revelation in the film. She interacts with some measure of sensitivity with her partner played by Anna Capri who shines with very little dialogue. On the other hand, the mother-son encounter of Guzman and Aunor is easily one of the most endearing moments of the film.

Tan’s narrative is aided in some good measure by the film’s sensitive cinematography which not only captures the characters but provides a good backdrop on which to put them in proper context.

One of the last encounters of the best friends in the park is easily one of the film’s magical moments.

They reiterate their friendship, one can only share love of a good friend and nothing beyond that. The words are too harsh but it is the truth. It is painful but the other accepts. As this happens, the camera pans them framed by ancestral trees and contemplating their future.

 Still, he attends his best friend’s wedding as his way of showing his act of acceptance.

Pare Mahal Mo Raw Ako is a tale of love divided three ways and each valid in its own terms.

To this cineaste, this is Tan’s best output and indeed worthy of support.

The movie is still showing in cinemas.