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Nakausap Ko ang Birhen
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Wikipedia article
'Nakausap Ko ang Birhen' is a 1988 Filipino religious drama film directed by Mike Relon Makiling, written by Makiling and Tony Mortel, and starring Lotlot de Leon, Ramon Christopher, Eddie Garcia, Janice de Belen, Snooky Serna, Barbara Perez, Sarsi Emmanuelle, and Marissa Delgado. Produced by Regal Films for the Lenten season, it was released on March 24, 1988. Critic Luciano E. Soriano of the 'Manila Standard' gave the film a negative review, criticizing its superficial qualities and spotty writing which prevented the film from having spiritual depth.
Cast
*Lotlot de Leon as Milagros
*Ramon Christopher as Nestor
*Eddie Garcia as Apiong, Milagros' father
*Janice de Belen as Julia, a crippled non-believer
*Snooky Serna as the Virgin Mary
*Barbara Perez as the mother superior
*Sarsi Emmanuelle
*Marissa Delgado as Merlie, Milagros' mother
*Subas Herrero as Don Ricardo
*Bella Flores as Sister Rafaelita
*Ramil Rodriguez
*Alicia Alonzo
*Nanding Fernandez
*Vicky Suba
*Vangie Labalan
*Alma Lerma
*Marilyn Villamayor
*Mike Austria
*Melissa Silvano
*Manolette Ripoll
*Arlan Israel
*Maila Marcelo
*Andro Guevarra
*Paul Pereyrra
*Patricia Javier
*Harvey Vizcarra
*Bert Mansueto
*Bamba
*Atong
Release
'Nakausap Ko ang Birhen' was rated "B" by the Movie and Television Review and Classification Board (MTRCB), indicating a "Good" quality, and was released on March 24, 1988.
Critical response
Luciano E. Soriano of the 'Manila Standard' gave 'Nakausap Ko ang Birhen' a negative review. Though he appreciated that a major studio like Regal Films made an effort to produce a religious film for the Lenten season, he criticized the film's shallow approach to its profound story, and cited among others a "facile" storyline involving Christopher's character Nestor entering the seminary after breaking up with Milagros. Soriano also criticized the inconsistencies in the film's screenplay, highlighting lapses in logic such as Nestor not being jailed for committing arson to Milagros' parents' whorehouse. In addition, Soriano was critical of Garcia and Flores' caricature-like exaggerated performances which undermined the seriousness that the film is striving for. Soriano concluded that with its superficial qualities, "[i]ts objective is clearly material and not spiritual."References
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