The Mutya ng Pasig tagalog movie was adapted from Nicanor Abelardo's poetical song inspired by the immortal kundiman and was spearheaded by his brother Richard Abelardo. The movie tells about the supernatural melodrama of a woman's misfortune and suffering interwoven with the legend of the Pasig.
Mercedes (Rebecca Gonzales), aside from being the town's current mutya (fiesta queen), is about to be married to his childhood sweetheart. (Roger Nite). Unknown to them, Dr. Modesto Millar (Jose Padilla Jr), is also secretly in love with Mercedes. One night, Modesto's house is robbed and the blame is placed on Mercedes' groom-to-be. He is arrested and imprisoned after which Modesto courts Mercedes and eventually marries her. When the former fiance is finally released, gossip spreads about hi m and Mercedes.
Consumed by anger and jealousy and believing the superstitious talk that the baby girl is not his because of an ugly birthmark, he banishes Mercedes and the child, chased by his monstrous dog, and she drowns in the river. From that point on, a legend spreads about a woman, a sirena, haunting the river singing a sad but beautiful song.
Mercedes' daughter is saved by a childlesss couple (Tolindoy and Angge) and grows into a lovely woman (Delia Razon) inheriting her mother's love for music. She is betrothed to Basilio (Teody Belarmino), the son of Mercedes' former flame. When Delia becomes the town's mutya, a commotion ensues and in the dead of night, she takes a banca and ventures into the dark river. Basilio is frantic and searches for her, believing she may have drowned.
He hears the haunting song and witnesses the apparition, but it is no sirena, but the ghost of the lovely Mercedes, hovering over a bed of water lilies with the practically lifeless body of her daughter at her feet. Mercedes is singing the haunting kundiman "… ako ang Mutya ng Pasig…"
The townspeople take the unconscious Delia to Don Modesto but at first he refuses to treat the young woman until he sees the birthmark on the young woman's shoulder. He finally realizes the truth and finally accepts Delia as his daughter.
The film’s much more than a time capsule of the former luster of Manila's most prominent river. It’s actually a lovely confection --- melodrama in heaps with a tinge of the surreal (Mercedes’ face appearing from the floating water lilies in the river; Don Modesto relives his unjustified banishment of Mercedes through what looks like a thought bubble) and the folkloric (the film is weaved from the tale of a mermaid who appears in the river at night, luring men to their deaths through her beautiful singing). It’s all balanced carefully by Abelardo, who deftly tells the story with genteel frankness (much like a storybook unfolding with exciting and imaginative vigor).
Mercedes’ apparitions are hauntingly beautiful. She appears garbed in an elaborate dress singing the titular song (composed by Nicanor Abelardo, brother of the director and treasured musician); the intricate melody can only be heard by those who matter (Don Modesto who sadly peers from his window; Consuelo who is mysteriously drawn to the river and the water lilies that populate its waters; later, to Basilio and those looking for her). It’s a lovely diversion from folkloric tradition --- the mermaid’s allure to eager men becomes a desperate wife and mother’s pleas to correct the errors of the past.
You understand the pain, and even that endless longing, that withstands death, that withstands the cruelty of her banishment (one of the film's most exciting and visually powerful sequences is when Mercedes is sent away --- she runs underneath the violent downpour of rain, and chased by Don Modesto's dog through the river banks).
Mercedes’ apparitions are hauntingly beautiful. She appears garbed in an elaborate dress singing the titular song (composed by Nicanor Abelardo, brother of the director and treasured musician); the intricate melody can only be heard by those who matter (Don Modesto who sadly peers from his window; Consuelo who is mysteriously drawn to the river and the water lilies that populate its waters; later, to Basilio and those looking for her). It’s a lovely diversion from folkloric tradition --- the mermaid’s allure to eager men becomes a desperate wife and mother’s pleas to correct the errors of the past.
You understand the pain, and even that endless longing, that withstands death, that withstands the cruelty of her banishment (one of the film's most exciting and visually powerful sequences is when Mercedes is sent away --- she runs underneath the violent downpour of rain, and chased by Don Modesto's dog through the river banks).
Nice article
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