Every once in a while, the cinematic stars will align and produce a perfect combination of drama, romance, and comedy in a film. A movie that will take the viewers through an emotional journey that will enthral them even way after that movie experience. In HELLO, LOVE, GOODBYE, it has done just that.
This mega-hit of a movie has just earned the title of the highest-grossing Filipino film of all time with a box office take projected to reach P1 billion. It is also the highest-grossing Filipino film in many territories including the Middle East, United Kingdom, New Zealand, and Australia. The very gifted Cathy Garcia-Molina, a director with an already known reputation to show everyone the money, helms this Star Cinema success. So why is it a hit? Let me count the ways.
The first and foremost reason for me, and like all other films I love, is that it has an excellent story. A simple plot but really believable with enough drama and conflict to engage the viewers. Kudos should be given to the writers Carmi G. Raymundo, Crystal S. San Miguel, and Garcia-Molina herself.
The film centres in Hong Kong with lead Joy Fabregas (Kathryn Bernardo), a hard-up yet hardworking overseas worker, and her complicated romance with Ethan del Rosario (Alden Richards), a bartender with his own share of emotional baggage. The plot is relatively simple: a case of mismatched priorities in life, and though love finally knocks on their doors, their career plans for the future are still misaligned. In a Filipino culture of personal self-sacrifice, one begs the question of who will give in.
The second success ingredient of this film is its perfect casting. Both Bernardo and Alden are tailor-made for their roles. The chemistry is there, quite palpable and so real that you as viewers fall in love with their characters, and become emotionally at one with them through their heart-centred dilemmas. Add to this the strong supporting cast led by Ethan’s best friend Jhim (Joross Gamboa) and Joy’s hilarious friend Sally Daraga (Kakai Bautista). They deliver the light comic punches when needed, not too over the top, and quite refreshingly subtle and playful. There are also noteworthy dramatic performances from Joy’s parents Maricel Laxa and William Lorenzo as well as Ethan’s embittered brother Edward (Jameson Blake). On a more intricate note, and this is a sign of a good director reminiscent of Brocka, even the non-Filipino cast performed well, including Joy’s employer Annie (Angela Poliquit) and her mother (Poon Po Lun Lilac). All in all, the casting was meticulous and unerringly spot-on.
The third and last component that makes this film superior to others is its excellent craftwork. Starting with Marya Ignacio’s meticulous fast-paced editing, especially during the film’s non-linear start, using striking footage from Noel Teehankee’s lush cinematography to the very innovatively tempered musical score from Jessie Q. Lasaten.
Just like CRAZY RICH ASIANS, which featured Singapore, the star of this film is more than only the leads. It is also the city of Hong Kong and the many Filipino workers based there. The film is a microcosm of the struggles of an overseas Filipino worker (OFW) in Hong Kong. This OFW experience is relatable among other countries like Singapore, Taiwan, and the Middle East.
So back to that question on why it’s a hit. I daresay, why not? When all the right decisions and choices were made by the production, director Garcia-Molina, her writers, the leads and supporting cast, and the technical teams. This film is one Titanic production that is fated not to sink.
HELLO, LOVE, GOODBYE (5/5)
The Japanese Film Festival is back for its 24th year in 2020 with this virtual edition streaming online from December 4 to 13, 2020.
There is a lot of trepidation in Hollywood in handling unsure material as CRAZY RICH ASIANS can attest. The last time an all-Asian cast modern-day Hollywood film was made was 25 years ago in 1993 with THE JOY LUCK CLUB, earning modest critical and box office success.
