WHEN TV5 announced that it had scored a casting coup and gotten “American Idol” fave David Archuleta to topbill its new soap, “Nandito Ako,” we hoped that the team idol would be able to make the key transition from singer to actor with distinction. Ever since it started telecasting, we’ve occasionally watched the series to see how he was coming along in that regard, but as of last week, his acting left much to be desired.
Earnest
Archuleta comes across as earnest and willing to work hard, but he’s too nice and laid-back to infuse his scenes with the required intensity and thespian insight.
Part of the problem turns out to be not of his own making. The writing of his character is too bland and equable, despite the conflicts that have been worked into the story.
In addition, the show’s story is having a hard time coming to a head due to the “loose” way that its plot has been structured. Yes, we get that he’s looking to reconnect with his mother (G. Toengi) and his Filipino roots, that he’s excessively controlled by his uncle-manager, and that two girls are competing for his love. But all of these “pressure points” don’t add up to a sufficiently compelling reason to watch the series regularly, and to see how the story ultimately plays itself out.
Rather weird
A rather weird additional impediment is provided by the show’s decision to use Tagalog and English in alternation in its dialogue. When David speaks, it’s in English; when the “native” girl he likes answers him, it’s in Tagalog. The expectation is that while David can’t speak in Tagalog, he can understand it—but that expectation comes off unnatural and unlikely, so their scenes together look and sound stiff and strange.
Also disappointing this far has been Toengi’s “comeback” performance on the local TV scene as David’s long-lost mother. Like Archuleta, she turns in an earnest portrayal, but that’s about it.
Attention
Despite these current low points, we’re still hoping (against hope?) that “Nandito Ako” can get its act together before it winds up its story telling, so that its “back to roots” theme and Archuleta’s first foray into acting won’t end up as a major disappointment for his Philippine fans.
Is there still time to refocus the series’ central conflict and theme? If so, more attention should be paid to the characters who give the story’s hero a rough time, especially his manager-uncle, who is played too much for frenzy and not enough for quiet cunning.
Aiko Melendez portrays another in-your-face antagonist who could use some reigning-in. But much more than toning down the “monsters,” David’s own character has to be played less for niceness and vulnerability, and more for complexity, intensity, and even occasional contradictions.
In drama, “nice” and “good” often end up as similes for “bland” and “boring.” A blame and predictable David Archuleta? That would never do.