Is
Neorealism style similar to the films of Brillante Mendoza and Adolf Alix?
Before
tackling the question about the similarity there is one thing we have to know
on what is Neo-realism? According to my research on the web it says that
neo-realism started after the 2nd world war. It says that
neo-realism shot in places without sets to lower the cost of the filmmaking it
also gives the impact of reality instead of fantasy. Another is that the directors
of the Italian neo-realism don’t get a professional actors and actresses
instead they shoot with real non-professional acting people for their movies
which show also reality. And last they shoot anywhere no primary location in
mind. This happened because after the world war people got poor.( ref: http://suite101.com/article/what-is-italian-neo-realism-cinema-of-the-1940s-and-1950s-a264084
and http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Neorealism-HISTORICAL-ORIGINS-OF-ITALIAN-NEOREALISM.html)
Going
back to the topic, I was supposed to comment that the movies of Brillante
Mendoza and Adolf Alix were both not similar to Neo-realism for the fact that
they both use some professional actors and actresses. Watching some of
Brillante’s movies like Lola, Masahista and Kinatay I saw familiar faces who
are known by the people. And same as Adolf Alix’s Kadin, Tambolista and Nars
they also have famous professional actors. But then I read in an article about
neo-realism that when the directors take a professional actors in the movie the
actors as part of the real people instead the people being the professsional’s
extras only.
As
I watched both director’s movies most of it was created by Brillante Mendoza
that I saw which shows a close similarity
to neo-realism is the Serbis
because the location didn’t have a set and no specific locations only
one place, and the professional actors were merged together with real
non-professional actors.
They
both are closely similar to the neo-realism and not as a whole.