Having a meager budget to watch the film offerings of the 50th Metro Manila Film Festival, I was left with two options to prioritize — Isang Himala and Green Bones. Because of my love for the theater and its original film, I ended up choosing the former. I’ve already seen Ishmael Bernal’s 1982 epic Himala before, so it only follows that I’d want to watch this iteration.
Isang Himala: The Musical
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Isang Himala is directed by Jose Lorenzo Diokno, based on a script he co-wrote with National Artist Ricardo Lee, who also penned the screenplay for the original film. Featuring music by Vincent de Jesus, this adaptation brings the 2018 stage musical Isang Himala to the screen—a theatrical retelling of the iconic 1982 film directed by Ishmael Bernal and starring Nora Aunor. Widely regarded as a cinematic masterpiece, the original film is immortalized by Aunor’s unforgettable delivery of the line, “Walang Himala!”—a moment that remains one of the most iconic and quotable in Philippine film history.
Without giving many details, Isang Himala explores the life of Elsa, a faith healer in the fictional town of Cupang who claims to have seen the Virgin Mary during an eclipse. As her popularity as a faith healer grew, conflict emerged among everyone in the town.
Elsa: Isang Himala’s Main Role
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The original stage and film adaptations featured Aicelle Santos as Elsa. Taking on the role of Elsa is no small feat, yet Santos brought it to life with her hard-hitting delivery, raw emotions, and soul-stirring voice. While already a household name in the industry, she further cemented her status as one of its finest talents with this adaptation. I couldn’t help but get goosebumps during Elsa’s iconic monologue. Santos’ portrayal of Elsa’s anger, agony, and eventual acceptance of fate was nothing short of unforgettable.
Supporting Cast
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The supporting cast deserves just as much praise. If anything, their stellar individual performances elevated the film to even greater heights. Each character was thoughtfully acted and portrayed, with none feeling one-dimensional. Their motives, aspirations, and sorrows were laid bare, making it easy to empathize with them all—whether it was Chayong (played by Neomi Gonzales), whose desires conflicted with her faith, or Orly (played by David Ezra), whose filmmaking ambitions and desperate decisions ultimately shaped the story’s course.
Standouts for me included Bituin Escalante as Aling Saling, Elsa’s adoptive mother, and Kakki Teodoro as Nimia, one of Elsa’s closest friends. Escalante embodied a mother burdened by pain but grounded by her restraint amidst the chaos surrounding her. Meanwhile, Teodoro’s searing portrayal of a woman scorned in unimaginable ways leaves you deeply moved by her hopeless aspirations.
Ricky Lee’s masterful storytelling seamlessly weaves these characters’ lives together, allowing the audience to feel not just Elsa’s emotions but those of everyone around her. Even those without major speaking or singing lines. However, I wish the extras had been able to lip-sync during the songs for added consistency.
And that cameo. When I tell you, I shrieked.
Direction and Writing of Isang Himala
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After watching the trailer, I was admittedly skeptical about Diokno’s choice to film the adaptation in a studio. I even joked with another theater kid that they should’ve just made a pro shot and called it a day. But boy, was I proven wrong.
The deliberate use of a studio made this adaptation work. Unlike the expansive shots of the original film, this adaptation felt intentionally claustrophobic. The tight, confined setting of Cupang created an almost suffocating atmosphere, forcing the audience to focus on the town’s people, their struggles, and, of course, Elsa herself.
Diokno’s direction was stellar, as always. While his approach differed from Ishmael Bernal’s expansive vision, it resulted in a more grounded take on the story. Such a take emphasizes the nuanced expressions of each character. Sure, there were some odd choices—like the extras not singing or awkwardly lip-synching the songs—but the final product was nothing short of a chef’s kiss.
The cinematography was another highlight. Carlo Mendoza’s use of light to convey emotions or signal flashbacks was highly effective. His keen eye for composition worked, especially in scenes that required silence and space, or the lack thereof.
And let’s take a moment to appreciate Ricky Lee once more. It still amazes me how he wrote the original screenplay, contributed to the stage adaptation, and co-wrote this film. Lee’s voice was unmistakably present in every version, consistently bridging the heart and soul of the story with each iteration. It’s no wonder this musical adaptation worked so well—it’s storytelling brilliance, pure and simple.
Motifs of Isang Himala
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The film delves into the theme of blind faith as a desperate attempt to improve one’s circumstances. It serves as a mirror to all who fall prey to false promises of a better life. Whether from self-proclaimed prophets, cult leaders, or even government officials. In Cupang, poverty and oppression have taken their toll. It is this false promise that sustains the people, even at the cost of their sanity and well-being.
At its core, the film is a wake-up call: walang himala. There is no divine intervention. We write our own miracles, and we create our own curses. But the question remains—are we willing to open our eyes to the truth and confront the harsh reality that progress can only come from rejecting what oppresses us? Or do we choose to keep our eyes shut, finding comfort in the illusion of miracles, even as it comes at our own expense?
Wrapping up
I’m not a film critic. I just love to watch movies. But if I were to rate this movie, I’d give it a 4.5/5. Diokno’s vision and Lee’s storytelling translated beautifully on the big screen, with powerful acting and singing chops by Santos and the cast who elevated this film to greater heights. Isang Himala is not a miracle, it’s a treasure to be had. It’s worth the ticket!
