Oct 17 2012
“Bwakaw”
courtesy of http://www.filmbiz.asia
Jun Robles Lana’s film, Bwakaw, can be considered a “dramedy” as it makes what could be very serious material light and comical, yet adds weight and honesty when appropriate. As a result of Bwakaw’s “dramedy-nature,” Lana at times loses balance between these two elements. The film requires consistency and balance in order to be successful. And in losing command of tone, he loses likability and believability in his main character.
Early on, Lana illustrates what a curmudgeon, old man Rene, played by Eddie Garcia, is. He avoids speaking to neighbors at all costs, physically assaults the drag-wearing hair stylists who he is friendly with, and finds excuses to make rude remarks to people he meets on the street. In one scene a lady asks if Rene’s dog, whose name is Bwakaw, bites. And Rene replies with, “No, but I do!” This isn’t to say Rene is one-dimensional; he is much more than that. Lana shows us how Rene cares for his dog, and how he takes time to see an old friend who has fallen ill. In addition to being sensitive, Lana reveals that Rene is tormented; he has not come to grips with his sexual orientation, and is in a sense waiting for death.
As the film progresses and we learn more about Rene, Lana allows the plot to become more and more serious, ending with an enlightened Rene who becomes self-respecting and open to life (a very dynamic change in the character). But as successful as Lana is in appropriately balancing his cross-genre script in the first two-thirds of his film, he precipitously allows seriousness to envelop the storyline. Towards the beginning of the film there is a scene where Rene gives a eulogy at a friend’s funeral and says, “She will be remembered as a great cook first, and a loving mother second.” This is hilarious and is such a typical Rene moment. But towards the end of the film, when Bwakaw dies, there is no humor. Though this is the death of the one thing Rene consistently showed compassion for, and no irreverence should have been shown towards the dog, I felt Lana could have provided some comic relief through Rene. After all, that was the trend he set in the film up to that point. Have Rene yell at the two drag stylists who are crying off to the side! Give the audience something (something that’s not the two sobbing idiots)!
Where was the edge I liked about Renee that existed early on in the movie? Even if Lana was trying to illustrate a change in his character, would the change realistically be so dramatic? Instead of drawing me into and through the climax, I was gradually losing my connection with the character. I didn’t like him so much anymore. Heroes without flaws are boring and unlikable, even after they are “enlightened.” Rene was no longer a curmudgeon, funny, yet compassionate old man. He was just… an old man. And in allowing this shift in tone, Lana lost what made this film, his film– great balance between comedy and drama.
Even with its shortcomings, Lana’s film is successful. It’s for the most part funny, very sincere, and surprising to say the least. Through the antics of Renee, Lana teaches us what it means to be happy and develops an emotionally powerful story. Though I believe this to be Lana’s first major directing voyage, it’s not likely to be his last. Bwakaw is worth seeing.
I thought the climax was actually a bigger part of the movie. Although this was a dramedy, the main idea were very serious and Rene’s life and problems were very serious as well. He still shows some glimpses of his troubles at the end of the movie as he looks at the biker guy pass by. His troubles still haunt him, he’s just learned to deal with them better.