Domestic violence and black comedy don’t seem a natural match, but to an impressive degree “Bitter Melon” pulls off their shotgun marriage. This third and best directorial feature to date for H.P. Mendoza, best known for writing, composing and starring in 2006’s “Colma: The Musical” (which Richard Wong directed), revolves around an eventful long Christmas weekend for members of a Filipino-American family with a history of abusive fathers. The complex tonal, textural and thematic mix here doesn’t always work, but it’s always interesting and often invigorating.
Christmas in San Francisco may not require winter wear, but there’s a certain amount of frost in the air as the Santos clan convenes for a rare (and nearly full) family reunion. Gay youngest son Declan (Jon Norman Schneider) has flown in from Manhattan, with eldest Moe (Brian Rivera) from Philadelphia, both returning for for the first time in years.
Christmas in San Francisco may not require winter wear, but there’s a certain amount of frost in the air as the Santos clan convenes for a rare (and nearly full) family reunion. Gay youngest son Declan (Jon Norman Schneider) has flown in from Manhattan, with eldest Moe (Brian Rivera) from Philadelphia, both returning for for the first time in years.
- 5/18/2018
- by Dennis Harvey
- Variety Film + TV
I have this theory that all movie criticism is complete bulls**t. Yes, I know that's an ironic position for a movie critic to take, but hear me out.
I believe that on some deep, emotional level, each of us either responds to a particular movie or we don't, and then after the fact, we come up with intellectual "reasons" to explain why we liked it (or didn't). But our "reasons" are all completely arbitrary, because we're never consistent in how we apply our standards. In the end, whether we "like" a movie is all about something we're not even aware of, something much deeper than intellect.
Case in point: the new fringe musical Fruit Fly, filmed and set in San Francisco and written and directed by H.P. Mendoza, who also wrote all the music. Mendoza previously wrote the songs and the screenplay for the 2007 cult classic, Colma: The Musical.
I believe that on some deep, emotional level, each of us either responds to a particular movie or we don't, and then after the fact, we come up with intellectual "reasons" to explain why we liked it (or didn't). But our "reasons" are all completely arbitrary, because we're never consistent in how we apply our standards. In the end, whether we "like" a movie is all about something we're not even aware of, something much deeper than intellect.
Case in point: the new fringe musical Fruit Fly, filmed and set in San Francisco and written and directed by H.P. Mendoza, who also wrote all the music. Mendoza previously wrote the songs and the screenplay for the 2007 cult classic, Colma: The Musical.
- 9/13/2010
- by Brent Hartinger
- The Backlot
Roadside Attractions
SAN FRANCISCO -- Colma, a suburb south of the city best known for its ubiquitous cemeteries, ever-present fog and the end of the subway line, is the improbable setting for San Francisco filmmakers Richard Wong and H.P. Mendoza's exuberant, wistful, coming-of-age musical, Colma: The Musical. Made for a song ($15,000, though it looks appreciably more expensive) and a little rough around the edges, this likable movie is filled with adolescent angst, youthful energy and hope.
Fresher and more original than bloated Hollywood musical fiascos like Rent, "Colma's" fine singing, sweet harmonies and snappy, sometimes poignant pop tunes and lyrics by Mendoza -- who also wrote the screenplay -- are set to an immensely appealing rock score that, once heard, is difficult to get out of your head.
The film, whose "what will I do when I leave home" theme should resonate with young audiences, has generated local interest. Even if that excitement extends beyond the Bay Area, boxoffice likely will be modest. After its June 22 debut here, the film moves to New York today and Los Angeles in August.
The brisk, five-chapter narrative opens with an ode to the dubious virtues of Colma, sung by three high school friends who have just graduated and find themselves on the cusp of adulthood: Rodel (Mendoza), a troubled gay teen and blossoming artiste, whose sexuality is unacceptable to his parents; Billy (Jake Moreno), an aspiring thespian and a clod in the relationship department; and the carnal Maribel (L.A. Renigen, making the most of a flashy role and a rich voice), who has a bit of the felon in her but, despite tough talk, won't make it out of the neighborhood.
In song and seen on split screen or together as they move through their daily lives, the characters obsess about an uncertain future, fret about the inadequate present and yearn for something more that possibly awaits them in the wider world. Colma is set during a time in life when parents are seen as obstacles, especially if you're still living at home, and major preoccupations, aside from pervasive anxiety, are partying and whether or not you're cool enough.
Wong, in a sure-handed, promising directing debut -- he also edited and produced -- has shot a remarkably stylish movie given his budget constraints and elicited spirited performances. The actors are more expressive though when singing than reciting the amateurish dialogue, which occasionally is marred by gratuitous crudity.
SAN FRANCISCO -- Colma, a suburb south of the city best known for its ubiquitous cemeteries, ever-present fog and the end of the subway line, is the improbable setting for San Francisco filmmakers Richard Wong and H.P. Mendoza's exuberant, wistful, coming-of-age musical, Colma: The Musical. Made for a song ($15,000, though it looks appreciably more expensive) and a little rough around the edges, this likable movie is filled with adolescent angst, youthful energy and hope.
Fresher and more original than bloated Hollywood musical fiascos like Rent, "Colma's" fine singing, sweet harmonies and snappy, sometimes poignant pop tunes and lyrics by Mendoza -- who also wrote the screenplay -- are set to an immensely appealing rock score that, once heard, is difficult to get out of your head.
The film, whose "what will I do when I leave home" theme should resonate with young audiences, has generated local interest. Even if that excitement extends beyond the Bay Area, boxoffice likely will be modest. After its June 22 debut here, the film moves to New York today and Los Angeles in August.
The brisk, five-chapter narrative opens with an ode to the dubious virtues of Colma, sung by three high school friends who have just graduated and find themselves on the cusp of adulthood: Rodel (Mendoza), a troubled gay teen and blossoming artiste, whose sexuality is unacceptable to his parents; Billy (Jake Moreno), an aspiring thespian and a clod in the relationship department; and the carnal Maribel (L.A. Renigen, making the most of a flashy role and a rich voice), who has a bit of the felon in her but, despite tough talk, won't make it out of the neighborhood.
In song and seen on split screen or together as they move through their daily lives, the characters obsess about an uncertain future, fret about the inadequate present and yearn for something more that possibly awaits them in the wider world. Colma is set during a time in life when parents are seen as obstacles, especially if you're still living at home, and major preoccupations, aside from pervasive anxiety, are partying and whether or not you're cool enough.
Wong, in a sure-handed, promising directing debut -- he also edited and produced -- has shot a remarkably stylish movie given his budget constraints and elicited spirited performances. The actors are more expressive though when singing than reciting the amateurish dialogue, which occasionally is marred by gratuitous crudity.
- 7/10/2007
- The Hollywood Reporter - Movie News
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