Mga Kuwentong Barbero (Barber’s Tales) is a markedly feminist film, its story basically documenting the systemic oppression of women in one provincial town, from all rungs of the societal ladder. The film finds power in this theme, though the delivery isn’t always all that effective. The film sometimes stumbles in putting together its scenes, stray details undermining the overall effect. But the presence of Eugene Domingo ultimately brings it all together, the actress’ stellar performance overcoming some of the film’s clumsier tendencies.
The year is 1975. Marilou (Eugene Domingo) is the wife of Jose (Daniel Fernando), the only barber in a small, provincial town. She lives completely subservient to her husband, obeying his every whim and turning a blind eye to his extramarital activities. And then one day, he dies in bed. Marilou, who has been cutting her husband's hair all these years, reluctantly takes over the barber shop. Soon, she becomes embroiled in the affairs of the town's mayor (Nonie Buencamino) and his long-suffering wife (Iza Calzado), and finds herself harboring rebels from the oppressive regime.
The movie finds stark parallels between the systemic oppression of martial law with the patriarchal structure of Filipino society. The film lays out a situation where women are essentially second-class citizens, no longer in control of their own destinies. As a character helpfully lays out early in the movie, it seems to be expected of a woman to be married, have children, or become a maid. The movie presents the rebellion as not just an escape from the oppression of the Marcos regime, but an escape to a more enlightened, more socially equal setup.
It's a powerful sentiment, though the film isn't always artful in its presentation. The film, though visibly subdued, is still prone to dramatic excess. There are scenes that seem to ignore the fragile reality of the situation in order to set up more dramatic moments later on. There's a bit, for example, that has the town shunning Marilou because it's become known that she harbors rebels. It's a big, powerful moment, but it's something that's largely ignored as the movie heads into its climax, which requires that information to be hidden somehow. The film isn’t quite able to build tension because of this, the movie a little too quick to dismiss its own buildup.
But through it all, Eugene Domingo's performance keeps the film grounded. It's a powerfully subdued performance, one that lets the change in the character creep in slowly. You can see the resolve in her character strengthening, the steel within being forged in the fire of her new experiences. It is a genuine pleasure to witness, the actress never giving in to the temptation of excess, her every gesture calculated to exhibit the character's gradual but palpable growth. Her co-actors provide ample support, the likes of Shamaine Buencamino providing some nuance to what could have been purely broad roles.
Mga Kuwentong Barbero really struggles in the end portion, its big, climactic moments just not landing very well. It’s all just staged a little awkwardly, the scenes lacking the buildup to really justify the big dramatic reveals. Still, there’s plenty to like in the film’s substantial runtime. It is kind of enough that the film provides a platform for Eugene Domingo to explore a different side of her acting talent. The actress is captivating in a very deliberate performance, providing the film with a solid core from which it can spin its tales.
My Rating:
