A classmate of mine once
joined a beauty pageant back in high school, and she was handed this question:
"What is the essence of being a woman?"
The question was the
mother of all cliches, but I remembered the essence of her answer by heart. She
said, "the essence of being a woman is being able to give birth to a
child, hold that child in your arms, and raise him." She won that
pageant.
Brillante Mendoza's latest
cinematic offering revolves around that same idea. The title itself, THY WOMB
clearly and categorically pinpoints motherhood, or rather the capability of a
female human being to conceive and give birth to another human being. Along the
journey, Mendoza also deconstructs the role of a woman, a mother, a wife, and a
member of a particular community, where tradition is of utmost importance. In the
lead role, superstar Nora Aunor is gripping as Shaleha, a Muslim woman living
in Tawi Tawi with her husband, Bangas-An (Bembol Roco). What seems like a quiet
and idyllic marital union is actually underlined by the fact that Shaleha seems
incapable of conceiving a child, and Bangas-An wants so much to have one.
Such genius tandem works
well, for both Aunor and Roco elicit their characters' desires through their
eyes; through La Aunor, we see how much Shaleha is dedicated to make her
husband happy, and via Roco, we learn of how much Bangas-An really wants that
child. Both actors are perfect casting choices for filmmaker Mendoza's placid
tone and pacing. Much is said during scenes of no dialogue.
And the film is even a
fresh and invigorating experience, not only for its boldness to explore the
hidden beauty of Mindanao's geography and culture, but also because of a wife
going to extreme lengths to find her husband a second wife, one who is fertile
to conceive their long-anticipated child. This is an image we don't see in
Filipino movies, because in mainstream exploration of extramarital affairs and
love triangles characters talk and talk about nonsense, reducing women as
objects and elevating men as some sort of sex god. THY WOMB reverses all of
that, and by way of highlighting the importance of culture and tradition in
reference to gender, the conflict is made much more difficult. Remember that
THY WOMB takes place in a Muslim community, and with Mendoza you notice every
bit of respect for the Muslim culture was exercised. Even the Muslim-Christian
strife lingered only in a passing image.
Mendoza and screenwriter
Henry Burgos makes a powerful stand on the Muslim-Christian conflict, even only
as a backgrounder. Nora Aunor's Shaleha tumbles down twice during the movie,
once at sea where rebel bandits causes their boat to capsize, and Bangas-An is
even shot in the process. The other is in the market, where Shaleha loses grip
on her sweet potatoes because of soldiers storming out of nowhere. During the
wedding scene where Mercedes Cabral does the ceremonial dance with her husband
in front of all the guests, gunfire ensues. But the show must go on. Life goes
on. This war is a huge farce staring us right in the face.
Nora Aunor shines in her
minimalist portrayal of the subservient wife Shaleha. Aunor indeed is such a
master of minimalist acting, and yet the emotional effect on the audience is
tremendous. Her eyes really do talk, and they talk endless paragraphs of
emotions. Towards the end, Mendoza breaks the image of the subservient wife,
reminding us Shaleha is still a woman and a human being capable of getting
hurt.
The arrival of Lovi Poe as
Mersila, the woman who will be wed to Bangas-An and who will supposedly give
Shaleha and Bangas-An their much-awaited child comes in brief, but strong. She
says only a few lines, but one particular line hit like an arrow in the heart,
and that plot twist made all the difference.
But in summation, is
giving birth to a child really the only essence of being a woman? Is a woman
less woman if she is barren? Yes she may be of less worth in reference to other
women who can produce offspring but is she of less worth in reference to
herself? Is she not a woman then? THY WOMB asks some difficult probing
questions without providing easy answers. The ending in particular is raved by
critics, because of the powerful image it evokes-- which is one of uncertainty
over seemingly calm waters. (MACKY MACARAYAN)
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