Now into its third week, Nora Aunor’s comeback starrer on TV5, “Sa Ngalan ng Ina,” is successfully reminding viewers of the iconic actress’ exceptional ability. As a colleague admiringly points out, her “native intelligence” as a thespian is evident in all her scenes, big or small.
What seems to get in the way of her complete triumph in the mini-series is its relative lack of focus, due to multiple thematic concerns: Its “political warfare” scenes are many and strong, and so are the sequences it devotes to the many members of the “dysfunctional” family that Nora’s character belongs to.
In addition, many supporting characters are given their own subplots, so Nora “shares” valuable time with them as well, further cutting into the central focus that she by rights should get as the series’ main protagonist.
Perhaps this is why we sense that, although she’s acquitting herself well, Nora has yet to “come into her own” as the story’s principal focus, and her greatness as an actress has yet to be indubitably affirmed by the drama series.
To be sure, the “shared” focus on politics and familial dysfunction does have its virtues, and we are properly grateful for them. But, we still feel that the series is trying to do too much, and that a firmer focus would do greater justice to Nora’s make-or-break comeback bid.
Having said all that, we must observe that her performance is still the series’ strongest suit— we just feel there should be more of it. She is the show’s shining superstar, isn’t she? And she’s got too much riding on this “last” comeback to fall short of the mark—especially when the limitations aren’t hers.
Other stars in the cast are also having problems. Eugene Domingo, as Nora’s sister, started off really well by playing it uncharacteristically meek, for a change. But, of late, her performance has been reverting back to perkily entertaining mode— where’s the consistency?
Rosanna Roces, as the powerful wife of Nora’s political rival, Christopher de Leon, also did really well in the show’s first week— but now, she’s playing it too seethingly vicious and ambitious by half, so we’re back to “melodramatic” territory again. Yes, she needs to “pump up” the story’s “villainy” factor, but does she have to do so quite so obviously?
For his part, Christopher has had a few good scenes, but his portrayal as a whole is fraught with posturing and “voice acting,” instead of real insights into the major character he’s playing. Yes, his manipulative wife is supposed to call the shots, but must he be so submissive so much of the time? Let’s hope he asserts himself—soonest.
Other actors who don’t do enough with their roles are Edgar Allan Guzman as Nora’s stepson and Nadine Samonte as her stepdaughter. He’s patently too young to be believable as a police officer while she’s too unrelievedly sour and surly as the town’s new mayor who resents Nora with a passion.
Both are key roles, so it’s disappointing to see that they’ve been entrusted to relative tyros who are unable to do full justice to them.