The extraordinary brilliance of Dahling Nick is fully realized in its interviews with figures in Nick Joaquin’s life such as: National Artists for Literature Bienvinido Lumbera and F. Sionil Jose; Nick’s niece Charo Joaquin Villegas, his ultimate companion, Elena Roco; and even Communist Party of the Philippines founder, Jose Ma. Sison.
Dhaling Nick moves slow, but Sari Dalena’s lethargy is assured and vivid; the moments of bleakness are held just long enough to drift through Nick Joaquin’s heavyweight literary pieces. It is a compendium of compound intelligence, cruelty and melancholy – an artist whose inner chaos, restrained and honed, bursts in justifying his own dominance.
The film bears a thematic resemblance to Dalena’s previous works Himala Ngayon and Ang Kababaihan ng Malolos—which are tangible exemplifications of her artistry ones which deviate from the ‘ordinariness’ of traditional filmmaking. The mouthwatering narratives—on point with female sexuality and seduction—dreamy aesthetics, and incredibly dark cinematic principle places Dalena on top of her game.
With Dalena’s extraordinary elucidations of Nick Joaquin’s masterpieces, the film seem intermittently, a dictating account of history that is dramatized in flashback. Without hastening–she professionally condenses history, packing ‘Quijano de Manila’s’ years in three hours. Among his dramatized works: the spirited “The Legend of the Virgin Jewel,” an intriguing lift from Joaquin’s literary gems, tackles the supremacy of Christianity over other religions gets a haunting adaptation on the lines of Intramuros; “May Day Eve,” flourishes from a complicated story of burning of desires and crucial choices that leads to disastrous marriage; meanwhile, “The Two Kisses of Eros” a narrative prose devoted to the Virgin Mary during the annunciation fabricates the most charming and memorable scenes that will leave out many particulars obsessed with Dahling.
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The participation of the narrators sets the film’s direction as it stretches the truth that ultimately leaves you sitting for three hours digesting its depth. This eventually swerves viewers’ attention—being punished rather than entertained—considering that Nick Joaquin’s writing techniques are more than an institutional tradition and experience, treated with a pompous buster and accumulated with so much power. Yes, his masterpieces needs a lot of time to understand (trust me, you’ll break a lot of sweat) But it’s worth to mention Raymond Bagatsing is a sympathetic monster as he portrays the soul, repression and misery of Nick Joaquin. Teeming with verbal sexiness and illusion, his dominance on the film is justifiable and worth the credit.
Dahling Nick is one of the most powerful biopic films we have in Philippine Cinema; it destroys subversion in literature and politics down to a most personal level. It halts all of his masterpieces into a tight-fitting fascination organized seriously to capture his influence with emerging power, gentle and suave.
Inevitably, with so much ground to cover and appreciate the works of Nick Joaquin, the authentic images become a perplexed blur of artistry—that he himself will always be the best. Dhaling Nick is a rhythmic visual poem that the sections structured exquisitely with sublime amalgamation of a brilliant beginning where interests are fixated on its own secrecy, dedicated to the dangers of the past, and yet is still a reflection of the present. The film is a classic, and at the same time a fascinating glimpse of what it is to be alive in Quijano’s world.
https://www.youtube.com/watch?v=h1_YDqKRB6g
