Skip to main content

When I Met U

Some of the devices used in the story to separate the pair are actually dated and had been done by the mother of Leonor Rivera when she broke her daughter’s romance with Jose Rizal. But instead of intercepting letters, it is the cell phone


STAR BYTES By Butch Francisco Updated February 12, 2009 12:00 AM

In the story, Richard and KC get stranded on a deserted island for a night on their way to a wedding in Palawan. Even if there is initial dislike for each other in the beginning, they still end up having a romance (but, of course — this is a love story!).

The trouble is — they are committed to other people: Richard to Iya Villania and KC to Alfred Vargas. From the start there is already a doubt in Richard’s heart about his love for Iya and so we see that their relationship is brittle. From KC’s end, it is easy to understand why she had mixed feelings for Alfred: He is controlling, cold and has no sense of humor. In other words, he is boring.

Their problem is how to get out of their respective commitments so that they could be with each other without hurting other people. That is the main conflict of When I Met U.

Some of the devices used in the story to separate the pair are actually dated and had been done by the mother of Leonor Rivera when she broke her daughter’s romance with Jose Rizal. But instead of intercepting letters, it is the cell phone — with its texting device — that is used by the people who are against Richard and KC ending up with each other. For the viewer, that kind of mechanism used in the story is still acceptable because it adds up to the suspense on whether or not the two leads will end up with each other. Of course, I don’t even have to give you a hint on the outcome, but the interesting factor there is how they go about it — the emotional burdens they carry with them and the hardships they go through to fight for their love.

Adding more layers to the twist and turns of the story are the characters of the secondary cast members. The coldness and the severe way with which Alfred deals with KC is believable. It also helps that Alfred is a good actor and you feel the iciness that envelops his person. No, he is not bad. He is just that way — cold. Other than that, he has endearing traits — like he is responsible and generous — and this is the reason why KC has second thoughts about breaking up with him. He may not excite you outright, but you’ll learn to appreciate him in time. And then, there is also his very kind grandmother, played by Perla Bautista, who gives another one of her inspired performances in spite of the shortness of the role.

On the part of Iya, I guess her fault is that she loved Richard too much and that could be suffocating. Again, that puts Richard in a quandary because here is a woman who loves you so why can’t you love her back? But love can be so mysterious and complicated — as demonstrated by the characters of Richard and KC, who again turn in wonderful performances.

Comments

Popular posts from this blog

The Moonflowers

It's as if the dark, which had before just been context, gave to vulnerability a permission, almost: fleshy saucers of spilled cream, so many parchment fists, unfisting; and now, in pieces, the delicate mask of an indifference offered radically up against what, each time, seems as unthinkable, as unexpected, as when, in the long dream of retraction, that sea that is finally not a sea, but what else to call it, begins again its shifting, and though to every push of the will forward there's something noble—which is to say, something lonely, also—it's too late. Carl Phillips Speak Low Farrar, Straus and Giroux

Caffeine

Because you do not know me, Francezca, you have every reason to be afraid— afraid because, while you are sleeping, I can be the moon, peeping in from out your window like some lonely lunar voyeur, or some rusty blade or kitchen knife when you feel like ending your life with a quick slash or laceration; because, when you wake up, I can be the toothbrush dangling silently in your bathroom, or the forlorn cotton bud preparing to rid your ears of dust and excessive earwax. This is no time to relax, Francezca— I can be anywhere anytime, anyone and anything you cannot even begin to imagine: the whipped cream on your waffle, the mothballs in your closet, the card tag of your tea bag, the jaundiced shade of moonlight, the moon-cake you hate, the steady staccato of rain, the flush’s fecal fouette, the hair inside your nose, your lip, your mole, black hair and brown irises, white teeth and red gums, your scalp, your skin, even your toenails. What is scary, Francezca, is the fact that you don’t e...

Discovery

I believe in the great discovery. I believe in the man who will make the discovery. I believe in the terror of the man who will make the discovery. I believe in the pallor of his face, the nausea, the cold sweat on his lip. I believe in the burning of the notes, the burning of them ashes, the burning of every last one. I believe in the scattering of the numbers, the scattering of them with no regret. I believe in the quickness of the man, the precision of his movements, his uncoerced free will. I believe in the smashing of the tablets, the pouring out of the liquids, the extinguishing of the ray. I assert that all will work out, and that it will not be too late, and that things will unfold in the absence of witnesses. No one will find out, of that I am sure, neither wife nor wall, not even bird, for it may well sing. I believe in the stayed hand, I believe in the ruined career, I believe in the wasted labor of many years. I believe in the secret taken to the grave. For me these words ...