Don't Believe the Hype

The film may be flawed, but its message is not.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

I guess it must be true that when watching a movie based on a piece of literature it has to be really really good to be able to capture your heart. Sadly the movie was not that good. Nick Jouaqin's story was not entirely captured by the film and its lack of enthusiasm for solid acting, good sound, better representation of the tatarin could've been improved. I could see bad preparation in the film especially with the way maui and carlos danced. It was terrible carlos had a hard time dancing and his body was basically tense. Edu was too strong that his transition from a hard authoritative husband to a submissive one was too pathetic. It had no dignity whatsoever. What would've been good for the movie was to capture the essence of the festival than delve on the sex scenes. I think that it called for a more authentic expression of the way people carried out the ritual..it was too damn stupid and annoying with all the shouting and bad static actors. This movie needs a new dynamic directing and over-all make over. IT has a good script for god's sake!peace out!

There are at least three entries in the 2001 Metro Manila Film Festival that seem meant to be taken as actual quality fare: Tikoy Aguiluz's "Tatarin" (Summer Solstice); Joel Lamangan's "Hubog" (A Woman's Curve), and Marilou Diaz Abaya's "Bagong Buwan" (The New Moon).The standout by far among the three, I think, is Tikoy Aguiluz's "Tatarin." Based on Nick Joaquin's play "Summer Solstice," the film is about the oldest and longest-running war known to man, the war between the sexes. Joaquin's problem then was how to make this war relevant again to jaded audiences (the play was written in 1975); his solution was to set the play in the 1920s, when male-dominated Western Culture was just beginning to tremble. Aguiluz's adoption of Joaquin's stratagem is, I think, a smart move--this way he captures the very roots of the war (or at least of the 20th century edition of the war) as waged by our grandparents and great-grandparents; he photographs the combatants at a time when the battle is still urgent and raw, the stakes desperately high.And the battle lines are drawn, of course, around a married couple—Don Paeng and Dona Lupe Moreta (Edu Manzano and Dina Bonnevie), on the evening of the Feast Day of St. John the Baptist, on the third night of the "Tatarin"--a pagan ritual where for three days out of the year women hold ascendancy over men.I can't think of a better Filipino filmmaker than Aguiluz to evoke the living past--especially in a production like this, where immersion in a long-gone age is crucial to the success of the film. Combining the considerable resources of Viva Studios (which are usually poured into banal glamour productions) with his keen documentary filmmaker's eye, Aguiluz (with the help of production designer Dez Bautista) evokes the remarkably authentic, miraculously detailed world of the Moretas--from the flour mill that produces their dried noodles, to the 1920s-style kitchen hard at work on dinner, to the luxuriously appointed family mansions with their incredible painted ceilings. And it's not just a matter of having an enormous production budget; it's the intelligence to pick out this particular detail, the wit to shoot from that particular angle--then the judiciousness to cut it all up so that you only glance at the images, and are left wanting more.But more than the ability to recreate a historical period, Aguiluz (again, with the help of writer Ricky Lee and editor Mirana Medina) is able to streamline Joaquin's play, to focus on the struggle between Don Paeng and Dona Lupe. The three have tinkered with Joaquin's married couple, made delicate adjustments, crucial revisions--the Moretas, for one, have lost all warmth and affection for each other, where in the play they still show signs of tenderness. Don Paeng has become a psychologically immobile, sexually impotent monster (kudos to Edu Manzano for the courage to portray such a thoroughly unlikable man) while Dona Lupe (Dina Bonnevie, in possibly the performance of her career) has become more submissive, more withdrawn (the better to highlight the climactic reversal when it comes).Then there is the dialogue, which has been pruned, made less explicit, made more functional than decorative. Besides the careful pruning, Aguiluz manages to locate the drama in the moments when words are not spoken--through shots that encapsulate in a single image the tension of the scene, like the one where Dona Lupe's foot is kissed by Guido (Carlos Morales), with Don Paeng watching from the balcony. Don Paeng, the shot says to us, is ascendant by virtue of his standing in the balcony, but is also rendered remote and helpless by the distance.Then the "Tatarin" ritual itself. Moved offstage in the play, the ritual occupies center stage in the film: a wordless, ten-minute orgy of pulsing drumbeat, flaring torches and convulsing women. Aguiluz wanted the sense of a real location turned theater set, and he got it--the dance, staged at the foot of an actual balete tree, feels nightmarish, surreal. And obscene--though nudity is at a minimum, there is no lack of lewdness to the drumming and dancing, which at times is reduced to frank rutting. "Pagan" is a polite and inadequate term for what happens at the foot of the balete tree."Tatarin" feels more lighthearted than Aguiluz's earlier works, if only because he doesn't end the film with a life-or-death situation (meaning: the protagonist didn't die). More, it's the first really comic film Aguiluz has ever directed, and he handles the material with admirable lightness and vigor. One of the best Filipino films of the year, and my vote for best of the festival, hands down.

Distinguishing itself as the only work with literary inspiration, Tatarin became a most-anticipated and intriguing watch, more so because it is based on a Nick Joaquin opus, a well-loved classic short story, the "Summer Solstice." Thus, the film not only acquired distinction, but also the unforgiving expectations from literary lovers.Tatarin refers to the pagan ritual participated in by women, who are momentarily liberated from the strictures of the patriarchal society. They abandon themselves to the calling of the inner self, instinct, nature or other influences, as demonstrated through frenzied dancing, a bit of nudity and shrieking. The ritual coincides with the feast of John the Baptist.Against this backdrop and the oppressive heat of summer, gender wars are principally portrayed by the aristocratic and proud Don Paeng Moreta (Edu Manzano), who feels contempt for, yet fears the Tatarin and the women, and his wife Doña Lupe (Dina Bonnevie). Doña Lupe eventually wields her own feminine power after witnessing the transformation of their cook Amada (Rica Peralejo) and the rendering into helplessness of her abusive husband Entoy (Raymond Bagatsing); the amorous coaxing of Paeng's cousin Guido (Carlos Morales);and the experience of the Tatarin itself.Generally, the acting is competent and even Peralejo, who was generally viewed as a miscast, is kept unobtrusive. Scenes may not be as crafted as expected or as imagined by many viewers, with some almost awkward and contrived -- vestiges most likely of theatrical tradition which must place actions within the confines of the stage. The film nevertheless proves to be cogent in its recreation of the 1920s, as evident in an atmosphere that exhibits in several moments a kind of lushness and muggy tension.

FAMILIAR TERRITORY by Lito B. Zulueta, Published in Philippine Daily Inquirer, January 7, 2002Some of the currency of public affairs journalism that flavors "Hubog" and "Bagong Buwan" is used to some ironic effect in the period drama "Tatarin," Tikoy Aguiluz's filmization of Nick Joaquin's short story "Summer Solstice" and play of the same title. Aguiluz really returns to familiar territory here: he achieved renown in the 1970s when his short film on the Mt. Banahaw rituals won an international prize. In fact, "Tatarin" achieves a mesmerizing effect in the mountain ritual parts that provide the viewers the special feel of religion with their strange brew of mysticism and pre-literate hysteria.Aguiluz's documentary flair is used to remarkable effect here. If he's guilty of embellishment and sensationalism, as in the sex scenes, he can be forgiven because he portrays the battle of the sexes, resurgent matriarchy, male insecurity, the clash between the old and modernity-interweaving themes in Joaquin's fiction and drama-with the detachment of a scientist or even a journalist. Among the films of the Metro Manila Film Festival 2001, "Tatarin" is really the most realized, without even a mere tokenism to global cinema. It is the movie that is most faithful to its material and vision.