'Rurouni Kenshin 3': May the legend not end here

It felt so good it was bad. 

That's exactly how I felt when the last frame of Rurouni Kenshin: The Legend Ends--a close-up of the beautiful and peaceful face of Kenshin Himura--became black. Could it be the last time I'll see it in big screen?

As the epic conclusion to director Keishi Otomo's trilogy, there's nothing else I and the legion other fans around the globe could ask for. Except for, to hopefully wait for the return of Kenshin, effectively portrayed by actor Takeru Satoh, to big screen.

Takeru Satoh as Kenshin Himura
 (ALL PHOTOS FROM WARNER BROS. PICTURES)

From the first to the third film, the Rurouni Kenshin saga made a genius and breathtaking live-action adaptation of the manga by author and illustrator Nobuhiro Watsuki. 

In Rurouni Kenshin 3, the much-anticipated battle between Kenshin and his nemesis Shishio Makoto (Tatsuya Fujiwara) takes place, as conclusion to the manga's Kyoto Arc. It opens right after the theatrical run of the second installment Kyoto Inferno.

Will the master teach his disciple the ultimate sword style?

RK3 begins with Kenshin being saved by his master Hiko Seijuro (Fukuyama Masaharu) who fortunately founds him on the shore after being separated with Kaoro Kamiya (Emi Takei) in the vast sea.  

With a mission to stop Shishio's evil plan to overrun Japan, Kenshin begs his master to teach him the ultimate style of their sword technique.

But even before he gets to face Shishio, Kenshin must also defeat other tough opponents including Shinomori (Yusuke Iseya) and Sojiro Seta (Ryunosuke Kamiki). The protagonish also gets to deal with a bunch of Tokyo Police for a light break in the overall brutal and bloody film.

Speaking of action, credit and praise must be given to Kenji Tanigaki, who was responsible for it! Working previously for Chinese action star Donnie Yen, he was able to make legit samurai action that Hollywood can never copy.

His vision, coupled with Otomo's, made American contemporary films with samurai themes like The Last Samurai and 47 Rounin amateurish in terms of sword fighting.

Kenshin vs. Sojiro. Can Kenshin match Sojiro's speed?

For me, Tanigaki's work is best seen not in the final battle between Kenshin and Shishio, rather between Kenshin and Sojiro, who is the considered the speediest samurai in Japan. While the two first faced off in RK2, their fight in RK3 was even more jaw-dropping. Sometimes, the moves were just too fast they're hard to follow. 

Another must-watch is the square-off between the Master Hiko and disciple Kenshin. 

With all these said, I'm sure Ruruoni Kenshin producers are so proud of creating a breakthrough in action cinema. In production notes released by Warner Bro. Philippines, it said: "It’s not just the actors doing wire work on the Rurouni Kenshin sets: the cameras are suspended from wires, too. . . The camera moving together with the performers brings a heightened sense of realism to the scene."

It added: "Rurouni Kenshin is an action movie with a unique sense of timing. The secret to this is ‘point of view’, the relationship between the camera and the actors at any particular time.  This makes for tremendously absorbing shots that put the audience right in the thick of the action."

Executive producer Hiroyoshi Koiwai also noted: "In the new films, the action has more of a 'documentary' quality to it in that the actors are doing more of their own stunts."

So sugoi to Takeru and the rest of his co-actors, particularly Munetaka Aoki who plays the role of Sanosuke Sagara, Kenshin's trusted ally. Why? Because in his Manila visit last month, he revealed that he lost a tooth during shooting! 

All his efforts did pay off in the RK3 because he gratefully provided the comedic reliefs just like in the first two movies. I don't know, for some reason, every time he was in a scene, no matter how action-packed it appeared, it would just elicit laughter from the viewers! So that even if I was not supposed to laugh, I would! Hahaha!

Bless you Munetaka Aoki, aka Sanosuke for providing the laughs

Of course, acting wise, one cannot ignore the compassion and dedication Takeru, our Samurai X in the flesh, gave his character. He breathed life into Kenshin and made it his own. 

I would never forget how he described his relationship with the character when he was here in Manila. He said, "Even now that filming is over, I’m still reacting to Kenshin. As I got deeper and deeper into the character, I became more and more attached to him. It’s like he’s a close friend who lives inside of me. He’s a friend that I love, that I want to protect, that I don’t want to let go. That’s how strongly I feel about him.”

For that, domo arigato Takeru-san. You made every fan girls and fan boys' dreams come true. 

Kaoro happy to see Kenshin alive

As how Kenshin and Kaoru will be reunited again in RK3, viewers must have to wait until the later part. But no fuss because they will be rewarded, even if display of affection is very limited. No hug, moreover a kiss, this time. Perhaps this is being true to the Meiji Era when women are still very much reserved. 

Takeru, Munetaka, Emi and the director all joined the Manila-promotional tour of RK2 and 3 last month. 

Ruruoni Kenshin is indeed ending soon. But I am confident that if we fans, clamored for another arc of the manga to be made into movie(s) too, so strong and passionate, producers will heed to our call once more. 

A week before its showing, I was invited to the advance screening of Rurouni Kenshin: The Legend Ends by Warner Bro. Philippines. It officially opens in nationwide cinemas on September 24. 

The epic battle between Kenshin and his evil nemesis, Shishio 

Here are more interesting trivia from the prod notes of back-to-back Kyoto Inferno and The Legend Ends:

• A budget of 3 billion yen. A six-month shoot. A cast of 5,000.
• There were more than 30 locations scattered over 10 different prefectures in Japan, from Yamagata in the north to Kumamoto in the south
• Kenshin alone had over 100 costumes. The changing colors of his costumes play a part in the story, expressing his changing emotional state. He begins at the Kamiya Dojo in red, changing to navy blue as he comes closer to his original "Battosai" killer self, and then to the white of atonement. By the end he is back to his original red.
• Approximately 2,000 logs were used in Shishio's powerful, first appearance. The fiery blast furnace symbolizes Shishio’s gigantic ambition, and the incredible power with which he is prepared to discard everything and advance. 
• "Purgatory," the giant warship, where the story comes to its climax, is a truly enormous set that took five months to plan and build. 120 meters long and 20 meters wide, it is modeled from the largest French, British, and Russian battleships of the time.
• On why show the two-part Kyoto Arc one after the other, executive producer Hiroyoshi Koiwai  explained, "Of course, if the first film hadn't been a success, there would be no second one. But the fact is that even at that point, I wanted to make a sequel. [So] when we started, we realized that there was too much volume in the manga’s ‘Kyoto Inferno’ section to make it into one movie. Since we were following up on a big hit, we thought, 'What the hell, let’s make the sequel into a Part 1 and Part 2.'" 

May director Keish Otomo and producers
team up again for a new Ruruoni Kenshin saga!

Capitol Girl for a Night

In the media industry, the annual media appreciation and costume party hosted by Shangri-La Hotels and Resorts Group is one of the most anticipated events. 

For one, it is the only few times that the usually casual and laid-back media folks are given the chance to dress up and even look differently--whether glamorous, extravagant or just out-of-the-ordinary!

And another, it gives practitioners of the industry--new or established--the chance to get together with colleague friends, whether they were just together at a recent press event, or more so if they have not seen each other for a long time. 

Lastly, as thanksgiving to their supportive media friends, the hotel group raffles amazing accommodation prizes in its local and international properties. 

I debuted (artista? haha!) at the annual gathering in 2012 when the theme was the 1920s. With little budget and less skills, I must say I was successful and became a legit-looking flapper girl! Hihi! Sadly, I don't have a decent photo . But what made my first time more memorable was that I won a two-night stay at Shangri-La Boracay. Amazing!

This year, the theme was Hunger Games! It's so exciting! 

My colleague at The Manila Times, Sheila, became my partner in crime all throughout the planning up until the execution of our looks. (Our editor was greatly missed btw).

The two of us decided to pull out a "Capitol People" look, not particularly Effie Trinket, who was the most prominent Capitol person in the film. But the vibe and the garb they exuded during the Hunger Games opening or the Victors Party inspired us. 

On the red carpet! :) (PHOTO BY RAFAEL ZULUETA)

With only a week of planning, we began by scouring the best store one could get unusual clothes fit for a costume--the ukay ukay! Believe me, this is effective for those who doesn't want to spend so much for something they would wear only once. 

Sheila and I were successful to get weird looking garments each for P35!!! Woot woot! Her's was the super cool, reversible coat she was wearing. Mine was a magenta dress with Avant-Garde sleeves. 

Yes, that doesn't look like the one I was wearing coz it wasn't. Right after I bought the dress (from HK), I remembered the baby violet chiffon skirt of my prom dress, worn only once almost 10 years ago! 

Remember, bright colors were very prominent at the Capitol. So having a pop of violet in my entire attire was crucial in achieving the Capitol look. 

However, the original skirt reaches up to my ankle, so I sent it over to my seamstress aunt, Tita Amy, for rush repair! 

She did an amazing job, thus the below-the-knee length, and the semi-billowy effect. It was perfect! 

And then for the top, I was so lucky to have in my closet a Pat Santos cropped blouse with over-sized sleeves and geometric prints. The way it was in black and white also complemented the colorful skirt. So it was statement on top, and color at the bottom. 

To complete my ensemble, I bought a bonggang headdress from my trusted specialty store in Market! Market! Taguig. It's where I brought my nice floral accent at the 2012 Shang party. 

This time, I got a big, magenta headpiece with feathers and a big stone in the middle! This was to make up for the lack of wild and colored wig because my hair now is short and jet black. It was the same shade as my peep toe wedge to make a match. 

Finally, I wore my ever-favorite Leg Love leggings for more drama, plus a black gloves to a formal touch. 

For accessories, I borrowed Mama's beaded dangling earrings with the same colors of my entire account, lots of rings, and a golden-studded black clutch by SM. 

Here's my final attire: 

What do you think?! :)

The make-up was another thing! But as I always do, I just watch plenty of tutorials in YouTube and then choose something that will best represent the theme. This time I chose two because I did not just mine but also Sheila's. 

For our Hunger Games Victors Party, I learned from Google pics that there was a lot of colors also! But one YouTube video pointed out that there was a lot of blending out of eyeshadow, which I successfully did on mine. For Sheila, I opted to give her a wild and bright blush on. Also, that one make-up artist said that Capitol People also loved blending. So the colors of our make-up reflected our clothes. 

This is our most decent shot after the make-up session: 

Smile!

I hope you all enjoy reading this, the way I enjoyed the process of dressing and doing make-up. Because, allow me to reveal, that it's my wildest dream to be a stylist and make-up artist! 

Controversies and celebrations at Cinemalaya 2014 awards

(Story originally published for The Manila Times.)

Past and present filmmakers of the Cinemalaya Independent Film Festival expressed “violation of rights” over the online upload of 2012 and 2013 competition films over the weekend.

Including last year’s Best Film director, Hannah Espia (Transit, 2013), and the first year’s Best Film director, Auraeus Solito (Ang Pagdadalaga ni Maximo Oliveros, 2005), the filmmakers took to the stage of the festival’s awards night on Sunday at the Cultural Center of the Philippines.

After accepting the New Breed Category’s Best Screenplay award for director Giancarlo Abrahan V’s Dagitab, Espia said, “I want to express my heartbreak over the upload of our films on YouTube . . . To see our films on YouTube is a violation of our rights as artists and filmmakers.” 

Espia, who co-produced Dagitab, added that she and fellow filmmakers are calling for a dialogue. “We cannot stay silent,” she ended her speech.

Meanwhile, Solito, who now goes by the name Kanakan Balintagos, read an official statement from the first batch of Cinemalaya filmmakers.

“We are in solidarity with our fellow filmmakers whose artistic rights were violated when their films were uploaded on YouTube and on the Cinemalaya website without their final consent,” he said in between presenting awards.

It was on Saturday that the 2012 and 2013 full-length films were uploaded at the Cinemalaya website and the personal YouTube account of a certain Janssen Agbada.

In a statement posted by Cinemalaya Foundation in its Facebook account, it said, “Only half an hour ago, we got wind of the fact that Cinemalaya films were uploaded by Janssen Agbada, technical personnel of the Cinemalaya website yesterday. We apologize for this situation which we had no idea of nor we are aware of what or who caused or gave instruction for her to upload the films.”

The films were then immediately removed from the website and the YouTube account was disabled.

But at the awards, Tonyboy Cojuangco, chairman of the Board of Cinemalaya Foundation, claimed responsibility for the act.

In his speech, Conjuangco explained that for the past 10 years, he had struggled to subsidize Cinemalaya. And in the next years, they are predicting that the festival will reach a “plateau.”

In search for ways to make the festival sustainable, Cojuangco gathered a group of experts for discussion. And the uploading of films online was what “they thought was the answer.”

“[By] getting people to get hooked to Cinemalaya product. And the only way to get that is by giving them the chance to watch,” he explained. “It’s either we upload everything, or we upload nothing at all.”

So, he added that they decided to upload all films they had still rights on. Cinemalaya has rights of a film for three years only. 

The foundation, led by its president Nestor Jardin, also apologized to the filmmakers in contention.

A family affair

Hosted by Ina Feleo and Epi Quizon, the Cinemalaya 2014 Awards Night was a family affair.

Feleo, the daughter of the late Johnny Delgado and Cinemalaya’s very own festival director Laurice Guillen, and Quizon, the son of the late King of Comedy Dolphy, noted that this year’s festival presents some of the most trusted families in the film industry like the O’Haras and the Siguion-Reynas.

Making his big screen return after 14 years in the limelight, Carlitos Siguion-Reyna directed Hari ng Tondo, which won three awards in its Directors Showcase category namely, Special Jury Prize, Best Actor for Robert Arevalo and Best Supporting Actress for Cris Villonco.

Carlitos is the son of Armida Siguion Reyna, and Villonco is his niece.

In accepting the awards, film producer and writer Bibeth Orteza expressed delight to see the return of the “Reyna” logo in the big screen.

Meanwhile, sisters Janice O’Hara and Denise O’Hara of the O’Hara clan accepted the Audience Choice award for their film, Sundalong Kanin, in the New Breed Category.

Nora Aunor wins

For the acting awards, Nora Aunor was the biggest winner of the night for her performance in Hustisya, Joel Lamangan’s film for the Directors Showcase.

Her win was much-anticipated as it was her first time to join the indie film festival. She said, “Sa wakas, nagkaroon din ako ng pelikula sa Cinemalaya [Finally, I had a film at Cinemalaya].”

The Superstar continued, “Patuloy po akong gagawa ng pelikulang makabuluhan. Sa mga kabataan, sana magsilbi itong inspirasyon [I will continue to make meaningful films. I hope that it will serve as an inspiration to the youth].”

Under the New Breed category, Actress Eula Valdez won Best Actress for Dagitab in the New Breed category, while Dante Rivero won Best Actor for 1st ko si 3rd in the Directors Showcase.

While Villonco was named the Best Supporting Actress in Directors Showcase, it was young GMA talent Barbie Forteza who accepted the honor in her category. She was in the film Mariquina.

Best Supporting Actors were Miggs Cuaderno, a Kapuso child actor, for his role in Children’s Show (New Breed), and Nicco Manalo in The Janitor (Directors Showcase).

A special award for Best Ensemble Acting went to the cast of #Y by Gino Santos.

Major awards

The major awards of the films last night were spread out in different films under the three categories.

For the Short Films, young director Kevin Ang won Best Director and Screenplay for his film Lola, while Sari Estrada got the Best Film for Asan si Lolo Me?.

Michael Tuviera also received two awards for Best Director and Screenplay for The Janitor, while Joselito Altarejos got the Best Film honor for Kasal under the Directors Showcase.

Kasal is Altarejos’ last gay-themed film, as he said that he had served his purpose for the LGBT community.

Finally among the New Breed entries, Dagitab won Best Screenplay and Best Director, and Bwaya the Best Film.

In accepting the award, director Francis Xavier Pasion also commented on the issue of uploading. He said, “I only have one word, respect. That filmmakers must respect Cinemalaya and Cinemalaya must respect the filmmakers.”

Kidlat Tahimik was honored the 2014 Gawad Balanghai for being the “Father of Philippine Independent Cinema.”

Full list of winners:

Best Film

New Breed: Bwaya

Directors Showcase: Kasal

Short Feature: Asan si Lolo Mê?

Best Director

New Breed: Giancarlo Abrahan V (Dagitab)

Directors Showcase: Michael Tuviera (The Janitor)

Short Feature - Kevin Ang (Lola)

Best Actor

New Breed: Dante Rivero (1st ko si 3rd)

Directors Showcase: Robert Arevalo (Hari ng Tondo)

Best Actress

New Breed: Eula Valdez (Dagitab)

Directors Showcase: Nora Aunor (Hustisya)

Best Supporting Actor

New Breed: Miggs Cuaderno (Children's Show)

Directors Showcase: Nicco Manalo (The Janitor)

Best Supporting Actress

New Breed: Barbie Forteza (Mariquina)

Directors Showcase: Cris Villonco (Hari ng Tondo)

Best Screenplay

New Breed: Giancarlo Abrahan (Dagitab)

Directors Showcase: Aloy Adlawan and Michael Tuviera (The Janitor)

Short Feature: Kevin Ang (Lola)

Special Jury Award

New Breed: K'na the Dreamweaver

Directors Showcase: Hari ng Tondo

Short Feature: The Ordinary Things We Do

NETPAC Award

New Breed: Bwaya

Directors Showcase: Hustisya

Best Editing

New Breed: Gerone Centeno (Children's Show)

Directors Showcase: Tara Illenberger (The Janitor)

Best Production Design

New Breed: Toym Imao (K'na the Dreamweaver)

Directors Showcase: Harley Alcasid (Kasal)

Best Cinematography

New Breed: Neil Daza (Buwaya)

Directors Showcase - Mycko David (Kasal)

Best Sound

New Breed: Jonathan Hee and Bryan Dumaguina (Children's Show)

Directors Showcase - Mike Idioma (The Janitor)

Best Musical Score

New Breed: Erwin Fajardo (Buwaya)

Directors Showcase: Richard Gonzales (Kasal)

Special citation for ensemble acting: Elmo Magalona, Coleen Garcia, Sophie Albert, Kit Thompson, Chynna Ortaleza #Y

2014 Gawad Balanghai: Kidlat Tahimik, "Father of Philippine Independent Cinema"

Audience Choice

New Breed: Sudalong Kanin

Directors Showcase: Hustisya

Best Poster Design: Asintado

Canon's Best Cinematography: Kasal (Mycko David)