We felt sad for Piolo Pascual as the first movie he produced, “Manila,” was first day-last day in some theaters. The movie can be classified as one of those “What were they thinking of when they filmed it?” If Piolo and his two directors’ aim is to just join a prestigious international filmfest when they made it, well, they’ve achieved their goal. But at what cost? Moviemaking is still primarily a business and as a new producer, it’s logical for you to wish that your first project would make money so you can recover your investment and make more movies. Who cares about it being seen by foreigners abroad?

As it is, “Manila” will really cater to a very limited market, even in art houses abroad. Very few local viewers will be able to relate with it. If they meant it as a tribute to Lino Brocka and Ishmael Bernal, they fell flat on their faces and we’re not surprised if the late national artists are now taking triple somersaults in their graves. No one has the right to meddle with the film classics they did and any upstart’s work will always pale in comparison with the originals. If ever “Manila” would have any accomplishment, it could be that young viewers today might be curious to find out what the original masterpieces “Manila By Night” by Bernal and “Jaguar” by Brocka are all about.

In the first episode directed by Raya Martin, Piolo is William (he’s reprising William Martinez’ role in the original) and he does nothing but walk and run for half an hour. Filmed like an extended music video, only those who’ve seen the original would know that Katherine Luna as a blind masseuse was originally played by Rio Locsin and Alec Bovick as the tomboyish drug pusher was done by Cherie Gil. But viewers who are seeing them for the first time will have no inkling whatsoever who they are and what the movie is trying to impart. Sad to say, Piolo is not credible in the lead role. His hair was colored and he looks too old to be a young addict. In his scenes with Rosanna Roces as his mom, they look more like brother and sister.

The second episode by Adolfo Alix has more echoes of the original “Jaguar.” Piolo plays Phillip (he reprises the role played by Phillip Salvador), a poor boy working as a bodyguard for rich guy Barry (Jay Manalo, played by Johnny Delgado in the original).

He also gets to kill someone because of his boss and the climax is likewise set in a dumpsite. Filmed in 16mm and blown up to 35mm, the most laudable thing in the movie is the excellent cinematography by Albert Banzon in atmospheric film noir black and white realism. But superb cinematography alone does not make a good movie. The narrative, which is more important, is so bad. Its primary sin is that you cannot relate with any of the characters.

Piolo probably thought this would be a good acting vehicle for him. But he’s just not credible in both roles. He’s miscast and too old for the William role and not for a moment would you believe he’s an addict. Osang has a very strong presence but she’s wasted as her character was very sketchily written. In the second episode, Piolo puts on very dark makeup and his character comes out as someone so dumb he really deserves to be salvaged by cops. Maybe they should have also included those who made this movie.

Sentimental and schmaltzy but effective

The kind of tearjerker that critics love to tear to pieces as sentimental and schmaltzy, “My Sister’s Keeper” is a family drama that anyone who has cared for a dying loved one will find easy to relate with. Based on a best selling novel by Jodi Picoult, the film is adeptly directed by Nick Cassavetes (“The Notebook”) who uses flashbacks, narrations and monologues that capture the essence of the various characters to tell the heartrending story.

The movie is Cameron Diaz’ first serious mother role after doing hit comedies like “What Happens in Vegas” and “There’s Something About Mary.” When Sara (Cameron) and husband Brian (Jason Patric) learn that their daughter Kate, two years old, is diagnosed with leukemia, they opt to have another child to help prolong Kate’s life. Thus, Anna was conceived and born as a genetically engineered child meant to become her sister’s keeper. She will serve as a compatible donor to supply blood, bone marrow and other organs to the ailing Kate.

By the time she’s 11, Anna (played by Abigail Breslin of “Little Miss Sunshine” and “The Ultimate Gift” where she played a young cancer patient) has already given so much to Kate and her bone marrow had been extracted twice. Now, she’s also being asked to give one of her kidneys to Kate and this is a dangerous operation since it could deprive her of having her own normal life. She then decides that she wants medical emancipation and consults a lawyer she sees on TV, Campbell Alexander (Alec Baldwin), to help her win her case. She still loves her sister who’s at death’s doorstep after going through so much chemotherapy and remission. She also wants to remain with her family, but she wants to have control of her own body. Her dad and her brother, Jesse (Evan Ellingson), understand her plight and stand by her, but her mom Sara feels hurt and gets mad with her.

In flashbacks, we get to know the story in full and the major characters better. Actually, Anna is not the one who appears like a villain here for no longer wanting to help her dying sister. It’s their mom, Sara, who’s in denial. She’s the one who is the most affected in their conflicted family, consumed by her desire of prolonging Kate’s life to the extent of neglecting other members of their family. It’s a complex role about a mom who gave up her own promising legal career to take care of her sick child. She’s now raging deep inside and cannot give up or let go, and Cameron Diaz shows she’s good not only in comedy but also in drama, giving the anguished role of Sara the textured depth and range it calls for.

In all fairness to the entire cast, everyone gives a heartfelt performance. Jason Patric (who tried action roles in “Speed 2” and “Narc”) also gives a finely tuned portrayal of the father who’s caught in a tug of war between his wife and daughter. Even Alec Baldwin tones down his usually pompous performance as the lawyer who actually has a secret motive in pursuing the case with much determination. Also excellent in a brief supporting role is Joan Cusack as the judge who handles the case with so much pain visible in her eyes as she has also lost her own daughter. And then there are the sisters. For one thing, you’d really believe that they are indeed sisters. Both give very moving performances with no hint of overacting, but Sofia Vassilieva (“Medium”) is the one who gains more sympathy as the dying girl who somehow finds some happiness in Taylor (Thomas Dekker of “Terminator” on TV), a bald boy also suffering from the big C who serves as her love interest.

The inevitable conclusion of the film is presented in a very dignified way, not cheating with a bright and happy ending, but also avoiding being so mawkish. They make only a few drama films these days and viewers who just want empty lightheaded entertainment usually avoid materials like this that deal with death, even if it’s as much a part of life as birth is. “My Sister’s Keeper” addresses its subject matter in an honest and touching fashion, just like the “Lorenzo’s Oil” and the Oscar-winning “Terms of Endearment,” without over-manipulating the viewer to wallow in tears. Ultimately, it’s a thoughtful experience that provides some valid insights and makes you think about some ethical issues concerning the extension of life.