REAL REVIEW: Lino Brocka’s Ina, Kapatid, Anak (1979).

Before you may hook to Enchong Dee’s current teleserye, let me provide you a review of the original Ina, Kapatid, Anak of Lino Brocka in which release in the time of Martial Law where Philippine Movies are in its height.

When Pura (Lolita Rodriguez), an illegitimate sister of Emilia (Charito Solis) and Thelma (Laurice Guillen) returns home from the US to visit his dying father (Manny Ojeda) became the eye of the people, almost admire and given high expectation. But when she try to resolved the family’s problem of bankruptcy by selling the house in which almost four family’s depend to stay set the tension. While baring her past,( the suffering from Emilia’s cold-hearted treatment of her status of being illegitimate and jealousy of her being a boyfriend of Ric Rodrigo)  Pura try to manipulate the family since she has money and power but Emilia refused since she insist that she is the legitimate despite of she’s nothing. Amid the tension, Erlinda (Rio Locsin) daughter of Emilia fell in love with a carnival operator (Raul Aragon), blinded by unreal life. Later, the patriarch died and Emilia cannot accept her misery confronted Pura in the night of the wake releasing all their hatred that came deeply from their past.
 

Undeniable the best screenplay for Mel Chonglo, the story of rival in the family is a true deliberation for drama. But, Lino Brocka’s warming touch for shot with the moving camera put this film to become an instant classic. There are lots’ of symbolism such us the level of the house in which those poor relative is in the lower part while Emilia, the owner is leaving on the 2nd floor. The stare case became a perfect shot-intro to every conflict and possible story that may happen for this is the way or connection. It was start and end through a car, a symbol for another journey in any walks of life. The story is simple-although revenge is sweet, but at the end, you cannot put down your family.