Albert Martinez Rosario, stripped of all his brilliant, essentially holds wife, played by luscious Jennlyn Mercado, illustriously whose fate seems to be dictated by raging passions, meanwhile, have been strongly discouraged, especially for women. Nevertheless, Rosario, probably education influenced by donations being preached by America's new master colonial Philippine succumbs to each call of his flesh, while first with his father (Yul Servo), Assistant confidence that it is Marie to the chagrin of his parents, second with boyfriend of her best friend (Dennis Trillo), which has caused its separation with her husband and her children, and thirdly, nephew enchanted the owner, his (Sid Lucero). As such, it holds immense promise beyond the banal melodramatics accompanying generally these material.However, the film, as the number of characters dressed and exuberant complete, is far too concerned with decoration is nothing more than an expensive ornament. Because film is primarily defined in early-1900 where the Philippines has recently been granted to the American imperialists by Spain, this film surprisingly costumes, sets and details that correspond to the period. Fortunately, craftsmen and artisans of the film sufficiently meet the requirements of its aspirations period, ensuring that even the smallest detail takes part to the momentary illusion that everything has happened in a past which is better remembered through to encyclopedias and books of history. Even after several minutes to be drowned by a deluge of details period film gives slowly off the coast of inorganic sensation that distracts from rather than complete what the film attempts to convey the .Rosario main problem is the abundance of good taste. Martinez made most hardware, orchestration of what is essentially a large production of curiosities and emotions. There is an attempt some sensuality here all appeared and oiled, splitting in the shadows. Materials is the word, if we want to truly be blunt about it. MODESTY, too. It is as if any display of overt sexuality in a film about a woman whose fall has more to do with sexuality that anything else is taboo. The film, with all its grandiose representations of the era where history is supposedly located, reluctant away dirt and grime and polished by abusive gloss. The result is something really nice eye but soulless as expensive commercial for an obsolete luxury Cologne course. Taste the film enters its decision to decide its relevance. History of Rosario is framed as a return of flame by aging Hesus, played by moving Dolphy, which tells the story of his mother to his nephew, rich in an attempt to prove his identity. This is a useless framing device. Firstly, it puts the scope to be granted by a character in the film history. When Hesus concludes the film with a theory that his revelation to his nephew took the sins of his mother in the family there from reek of morality, denigration of history as just a tale of prudence sick of sexual expression, a panacea for old generations one family has been due to a matriarch who was granted the new donations of the 20th century meal effects. Rosario, ultimately, be seen only as exuberant, probably cleverly directed and designed with elegance and if only will be placed in a pedestal with a country that has had for films that would approximate those carried out by Hollywood. If the film appreciation, Rosario may indeed be a success. However, it does not. A film must be stripped of its clothing and ornaments. It has to be felt to be appreciated to be penetrated, once, twice, three times, and as you want, until his soul is bared to be visible at all times. If it fails in this tenor, then it is nothing more than an expensive spectacle, charming while you watch a remote blur and as soon as the theatre lights are on the rise.(Cross-published in the teachings of the school of inattention.)
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