As we descended the escalator after watching A Very Good Girl, I turned to my partner, Christopher, eager to hear his take on the film. His response was mixed, leaning toward the positive. He found the movie to be intriguingly absurdist at times, a sentiment I wholeheartedly shared. Still, like me, he wished the film had fully embraced its penchant for absurdity, leaving us both with a sense of inconsistency.
In recent memory, Star Cinema has been no stranger to criticism, often accused of churning out romantic comedies tailored to please the masses, a practice viewed by many as fan service. However, to mark its 30th anniversary, the production studio took a bold step in a seemingly uncharted direction to revamp its image. They brought together the formidable duo of Kathryn Bernardo, winner at the Seoul International Drama Awards 2023, and Dolly De Leon, a nominee at both the Golden Globes and the BAFTA, for A Very Good Girl.
Unfortunately, the film struggles to define its own narrative identity while ironically attempting to redefine the perception of contemporary Star Cinema productions.
Let me be clear: Star Cinema deserves commendation for casting Bernardo, who once headlined the very romantic comedies the production company had been criticized for in the past, in this audacious endeavor. However, it's frustrating that the film missed an opportunity to deliver a convincing narrative that could have delved deeper into character development instead of resorting to overstretched theatrics.
Moving on from that, let's discuss what I found particularly noteworthy in the film: the performances of Bernardo and De Leon. What struck me was the somewhat over-the-top nature of their acting skills, which, I believe, were necessitated by the screenplay's demands rather than any fault of the actors. Their undeniable chemistry on screen was evident as they skillfully navigated a story that, in my opinion, required such dramatic flair to compensate for its shortcomings.
A Very Good Girl also takes a remarkably direct approach in addressing critical societal issues. The film fearlessly delves into the manipulation of the less privileged by the wealthy, the intricate and often puzzling choices made by marginalized individuals in their political decisions, and the ubiquitous influence that corporations wield over those with limited resources. These overt themes add a thought-provoking layer to the movie, even amidst its narrative quirks.
What adds an intriguing layer of irony to the film is that it's made by a corporation and shown in malls owned by some of the country's wealthiest. This choice is undeniably bold, given the film's strong stance on these issues. It makes you think about the interests and dynamics at play in the world of cinema and corporate involvement in storytelling.
It's also worth mentioning that the same corporation faced political bullying in the Philippines. This deeper level of complexity reinforces the film's capacity to serve as a powerful socio-political commentary that invites viewers to engage in a more profound reflection on the issues it presents and encourages them to draw connections between the fictional narrative and the real-world struggles that continue to shape our lives.
While A Very Good Girl is not my cup of tea, its message is a sip that needs to be savored, especially in the Philippines, where political turmoil stirs the pot for the disadvantaged. I came across a Facebook comment that encapsulated this sentiment perfectly: “I’ve become even more aware of the flawed system in our country.” This remark, which is expressed by an ordinary moviegoer, powerfully emphasizes how the film's overarching message outweighs the technical flaws it possesses.
3/5
Photo credit: ABS-CBN News
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