Percival Intalan's "Dementia" - Deafening versus Horrifying

After 37 years, Mara (Nora Aunor) makes an unexpected homecoming to a remote town in Batanes. She’s suffering from Dementia, a clinical condition where cognitive and intellectual functions are sufficiently impaired, thus requiring close supervision and care. She’s mostly in the fog, forgets people and things, and is unable to function productively. Her cousin Elaine (Bing Loyzaga), along with husband Rommel (Yul Servo) and daughter Rachel (Jasmine Curtis-Smith), has flown back from the U.S. for a 7-week sabbatical to facilitate Mara’s discharge from the hospital as well as her transport to the tempestuous islands (Batan, Sabtang). Rommel is understandably peeved, and Rachel is mostly indifferent. But Elaine, the only person Mara remembers, grew up under Mara’s care, and owes her elder cousin a great deal.

In a somnolent town where electricity shuts off at 9 PM, Mara is left to meander this vaguely familiar house made of stone and thatched roof. 

Hopefully, this would steer her to remember things from her past. But in a creaky old house incessantly fanned by strong winds from the Pacific, there’s more to Mara’s abandoned memories, encapsulated in a journal she’s been keeping.

Mara starts seeing visions of a girl wearing vakul (a traditional Ivatan head gear made of straws used for protection against the sun, wind and rain) and a ghoulish maiden wearing a wedding gown. Mara also gets hold of a mysterious amulet with a hole in the middle. Then flashbacks start rushing by.

As a young girl, orphaned Mara was taken in by the Fabre couple who, unknown to the young girl (Althea Vega), has been keeping an intellectually challenged daughter named Olivia (Chynna Ortaleza) away from the prying eyes of the public. Mara soon realizes how she would figure in the household - as Olivia’s guardian and friend. The girls grew up affectionate of each other until Mara falls in love with a young man who then proposes to marry the dusky lass. In a fit of jealousy, Olivia stabs Mara’s beau. The situation briskly escalates into one of morbid consequences.

There’s much promise in Jun Lana’s story. Unfortunately, megman Percival Intalan’s directions leave much to be desired. Laid out as a psychological suspense thriller, the sluggishly told narrative soon falls prey to the wornout Asian horror cliché that makes use of sudden – and excruciatingly loud! – music/sound that eventually annoys more than it terrorizes. 

A door opens then a loud noise suddenly plays, and so on. Effective horror plays to our psyche, not bullyrag our auditory senses. And a story teller creates an atmosphere of impending doom. Lesser equipped film makers resort, on the other hand, to cheaper artifice, by creating “sudden noises” – the ones that actually break eardrums! Becoming deaf from movie watching isn't my idea of entertainment. I want to get pissing-in-my-knickers petrified, not deaf. This is why Von de Guzman's’ music and Addiss Tabiong's sound design contribute to Dementia’s faux pas as a cinematic chiller. Music and sound should enhance cinematic atmosphere, NOT call attention upon themselves. They shouldn't drown out the visual canvas. Of course, Intalan will be grateful to De Guzman and Tabiong because the pair was able to “jolt” the audience out of their ennui when this should have been the job of the story teller.

Plot crawls in dilatory fashion. Even as an atmospheric drama, Renei Dimla’s script should be circumspect. Instead it was nothing but patchy. One scene tries to explain Olivia’s relative “anonymity” through a sound byte from one of the characters, “Batang bata pa kasi sila nung namatay si Olivia” (thus most barrio folks weren’t made aware of Olivia’s presence). But even if you doze off between Mackie Galvez’s confoundingly underlit scenes, you would know that Mara and Olivia both grew up into adults. How else would Mara find romance? Was Olivia really kept behind the stone walls of the Fabre abode? Highly unlikely. You see the girls playing around the vast wind-swept landscape of Batanes. In a small town with a population less than a hundred, can you really keep a moving, breathing, living being under wraps?         

Bing Loyzaga unexpectedly keeps the story together as much as her character strings her otherwise divisive family. Loyzaga’s portrayal is so consistent you feel her strength amid internal strife. Jasmine Curtis-Smith is a joy to watch. Unlike her older sister, Jasmine never “overbakes” her characters. She’s temperate; and she steers clear from dramatic indulgences even when she’s already “possessed”. Truth be told, she is a gifted actress, managing to hold her ground and shine even in under-the-radar roles (Nika in Mike Alcazaren’s “Puti”; Yael in Hannah Espia’s “Transit”). Yul Servo, on the other hand, suffers from a one-note performance, making his presence disposable and forgettable. In fact, when Olivia’s ghost finally stabs Yul with a knife, Bing immediately abandons and forgets him. She instead runs after Jasmine and the wandering Nora. Bing was inconsolable when she realizes that Nora’s “gone”. Meanwhile, she forgets her husband Yul altogether. Didn't I say “disposable”?   

Perci Intalan's directorial debut is one blustery noise and blundering ambition. I was more horrified watching the video of a young Indian man being attacked by a white Bengal tiger in a Delhi Zoo. That didn't require sudden loud noises, blood spurting out of stones or crawling anophthalmic brides. What's better, I didn't have to pay a dime for it to scare me.  

Nora Aunor's grasp of the clinical condition seems dicey. Cognition, which refers to the "quality" of knowing, perceiving, recognizing, sensing, reasoning or imagining, isn't the equivalent of "amnesia" or "Alzheimer's Disease". Nora, on the other hand, refuses to interact with her surroundings, unless they're fueled by visual or aural hallucinations. She doesn't listen to people talking to her and sees way past them even when she's directly facing them. You'd somehow suspect she was "deaf and mute" more than demented. Or just maybe she's revisiting her role in Lamangan's "Sidhi"? She would occasionally look at their faces, smile a half-second grin, then it would disappear as fast as it came. Now that was scary. I heard someone whisper, "Ay, parang baliw!" This doesn't bode well for a narrative that necessitates a glimpse of familial articulation. More than her illness, Mara is too disconnected not just from her relationship with her family or her environment, but with the whole story as well.

  

UNFLATTERING

La Aunor has had a spate of movie roles that showcase her thespic chops to unflattering light. Yes, the Superstar is Philippine show business’ most intuitive actress, and the capacity of her eyes to highlight man's nethermost empathy is stuff made of legends. Her acumen is mostly based on instinct. She takes to the vision of her director then she brilliantly expounds and creates from it. But her instinctual proclivity also places her at a disadvantage when her director has but a mere incipient grasp of his vision.

This year, Nora Aunor has appeared in Joel Lamangan’s “Hustisya” where she inhabits the persona of a foul-mouthed Biring who facilitates the human trafficking business of childhood friend Divina (Rosanna Roces). In the movie, Nora navigates the backwaters of an intricate underground syndicate while constantly worrying about her missing son Michael (Jeric Gonzales, who's also in "Dementia" playing the helpful trike driver Vincent). 

Though Nora may have won her Balanghai trophy for "Hustisya" as Best Actress for the Director’s Showcase, this was mostly due to the dearth of female lead parts in the showcase category. In fact, the film was dubious all the way through. At best, La Aunor was a fish out of water. If you believed her characterization in it, you’d be the most impressionable dingbat this side of Lala-land. I kept wincing on how acutely awkward she was with her half-baked profanities. One couldn't help but consider Gina Pareno (playing Amy) who essayed a character congruent to Biring's in Jeffrey Jeturian’s “Kubrador”.

NORA VERSUS VILMA

Now imagine Vilma Santos donning Biring’s shoes. Wouldn't that create gargantuan sparks – no, make it fireworks! - where Aunor was only able to spew fumes off a dying chimney. Get my drift? So much has been written about those legendary eyes but when Lamangan chose to end his convoluted story with a close-up of a severely wrinkly protagonist laughing away until screen “freezes over”, I was transported into a maelstrom of epiphany. Some extreme close-ups aren't meant to be. There's just too much of them even here in "Dementia". 

Nora Aunor, in all her legendary glory, has limitations. Wasn't she miscast in Leroy Salvador’s 1985 ouvre “Beloved” while portraying the rich and sophisticated heroine? In Jun Lana’s “Barber’s Tale”, did anyone smoothly swallow Aunor’s character as a guerrilla leader “hook, line and sinker”? I didn't. She was (again) miscast. The “special role” was so fallacious it would have benefitted the film if it ended up in the cutting room floor. Truth is, you can’t just place Nora Aunor on an apple box and let her transform herself into someone else she’s not. Not everything in cinelandia is applicable to her smoldering pair of Laura Mars eyes.

My point here is, while it is true that Nora Aunor is a brilliant actress, she isn't the most versatile. Comparisons are inevitable with Vilma Santos who, of late, has been overshadowed by Aunor’s spate of lifetime achievement awards and National Artist ascriptions. But while Aunor has “Dementia”, Santos appeared in the better-crafted “The Healing” which raked in P110 million, 2012’s 3^rd Filipino film to gross over the P100-million mark. Which film was Cinemalaya 2013’s “box office champion” – Santos’ “Ekstra”.

As I was challenged and asked by a bungling idiot: How much did "Ekstra" earn during its commercial run? Insiders place it at P67.3 million. Let's conservatively round that up to P60 million. Surely that's way, way over what "Thy Womb" earned at the MMFF where it was unceremoniously and heartbreakingly pulled out from majority of the cinemas just 3 days after it opened on Christmas Day. Director Brillante Mendoza had to "beg" the cinema owners in public, on TV news and on print to retain it in cinemas. The 7-day haul amounted to an embarrassing P13 million, a far cry from the second "kulelat" (tailender), "El Presidente" which earned P33 million. And if you aren't "demented", you'd readily remember that both "Thy Womb" and "El Presidente" had Nora Aunor in the cast! Even their cumulative earnings of P46 million could hardly compare to "Ekstra's" P67.3 million.

BLIND PATRONAGE

Those irascible, irrational and blindly loyal Noranians could ride on their cumulative P46 million vehicle, "sumakay pa silang lahat" , it's really a no-brainer. How much did  "Ang Kuwento ni Mabuti" earn when it had its one week run at the Gateway last year? Drum roll, please! You bet, they were ecstatic to earn less than P50,000 - for ONE WHOLE WEEK screening! Divide that with the ticket price of P200, that's a mere 250 people occupying a 500-seater cinema hall that has 4 screenings a day for 7 days! Makes you wonder - how many die-hard Noranians are existing today - 250? How miniscule. Even if each of them would watch the film 3x in one week, they couldn't recoup expenses for the use of cinema, electricity, payment of ushers and projectionist, and airconditioning. Do they know how to count? The Philippines has a population of 100 million. And Nora can only coax 250 to watch her movie? It just makes me cry. Cinema, after all, is still business. People making films and screening movies should also earn. Otherwise, the cinema as we know it would die a natural death. That's a sad reality that people who love movies would have to cogitate on.

DEMENTIA'S PULL OUT: NORA VS DOLLS

Just mere two days after its opening, Dementia has already been pulled out from majority of its theaters, including places where you'd expect bigger Aunor patrons, like SM San Lazaro, SM Fairview and SM North Edsa. One guy wrote about his movie watching today and he shared, "There were just seven of us in the cinema," then corrected himself, "Ay, anim pala." On a busy Saturday? Maybe it was a block screening? LOL. If you say you're a Noranian, watch it now while it's still available in few cinemas in Metro Manila. Otherwise, you'd have to fly to Misamis Oriental, Pangasinan, Baguio, or worse, South Cotabato just to catch a sleep-inducing, closeup-rich movie. Ironically, even in Aunor's hometown of Albay, they choose not to screen it anymore (Bichara Silverscreens and Pacific Mall) preferring to show the comedic "Maria Leonora Teresa" (on its 3rd week), the name of the doll given by Nora's erstwhile boyfriend Pip to the then-phenomenal singer sometime in the 70's. Yes, Virginia, even three ugly dolls do better than La Aunor at the box office. Ouch.

Now, which other actress from the 70’s has the same mainstream-drawing power 5 decades later? But we’re not talking about box office clout, right? It's an exquisitely sensitive matter for some. (wink wink) On record, Santos is believable playing rich, poor, middle class, prostitute, nun, half-fish, superhero, bit player. Let's add governor to that varied resume. Aunor is believable playing pauper, abused or the down trodden and... errr, Super Gee? (Of course there's a few more colorful real-life "resume" worth adding here, but let me refrain from doing that for now. Tee hee.)

Nora Aunor may have made herself relevant in the contemporary independent film scene, but she should be careful when picking projects that gravely compromise her strength as an actress. Not every indie film maker has the aptitude of Brillante Mendoza (“Thy Womb”) and Mes de Guzman (“Ang Kuwento ni Mabuti”). Remember Mark Meilly’s “El Presidente”? Remind me again who looked laughably ridiculous playing Aguinaldo's aging wife? Or maybe the interchangeable indies no one came to watch prior to La Aunor’s jubilant  homecoming: Suzette Ranillo’s “Home Care” and Joey Romero’s “Ingrata”? Bad films don’t exactly contribute to becoming a “National Artist”.  I hope Adolf Alix’s “Padre de Pamilia” and “Whistle Blower” do better.    

Enteng ng Ina Mo - Comic Flourishes with Diminishing Substance

It’s the first film we went to watch at the MMFF not because we thought highly of it. Logistics of watching movies at the festival has to be carefully planned if you want a hassle-free experience. We chose Greenbelt 3 over Trinoma (nearer my village) because of the comparatively less crowd volume. Besides, it’d be nice to break the tedium. Christmas dinner afterwards would take place at my grandfather’s dig in Makati.

Which film would bring in the most crowd? That’s what we’d book first, that way we can take our sweet time queuing for the rest of the line-up without the frenetic rush to get the last few seats later in the day. So on the first day of MMFF, I donned my Christmas-inspired stilettos and harassed my friend so we could make the first screening at Greenbelt 3. Tony Y. Reyes’ “Enteng ng Ina Mo” plays first, followed by “Panday 2”, “Segunda Mano”, then “House Husband”. It was going to be “Shake, Rattle and Roll 13” instead of the Judy Anne Santos-Ryan Agoncillo starrer, but it wasn’t in the Greenbelt line-up! Simply put, that’s our fearless forecast for the biggest money makers for this festival. Doing away with them first would allow us to enjoy the rest of the movie watching season, with relative ease and comfort.

So... what happens when Enteng Kabisote meets Ina Montecillo?

Ina Montecillo (Ai-Ai de las Alas) has been having vivid and disquieting dreams of strife and fighting a war alongside a valiant warrior, a “knight in shining, shimmering armor”. But in her waking hours, the doting former president is anxious of being left on her own while most of her 12 children have started living their lives. Juan (Marvin Agustin), her eldest, is due to move to a new home with his family. Tudis (Nikki Valdez) has bought a house for her and son Oogie. Dimitri (Carlo Aquino) will soon relocate to Cebu where he’s assigned for work. Gay son Pip (Alwyn Uytingco) might do the same once he finds his new papa, taking daughter Monay (Xyriel Manabat) with him. To make matters worse, Rowena (Eugene Domingo), Ina’s best friend, is too preoccupied with her boytoy Frank (Jon Avila). The widow of four is lonely. And Carlito (Piolo Pascual), her last boyfriend, has flown off to South Africa, and has suffered morbid consequences (“Nilapa ng leon,” informed Ina.) Where will this leave Ina? No wonder she has burdensome dreams of conflict - and of a brave knight.

Meanwhile, at the Kabisote household, Enteng (Vic Sotto) is flustered when Faye (Gwen Zamora), his wife – a fairy princess – decides to leave Earth for Engkantasia (the fairy world) without his permission to fight a fast-losing battle against her evil sister Satana (Bing Loyzaga) who has captured the queen, Ina Magenta (Amy Perez). While Faye is occupied training for the impending invasion, Satana casts a spell on Enteng: the first lady he sees at the door becomes the future Mrs. Kabisote. In comes Ina Montecillo who’s flattered by the attention that Enteng showers on her. While Enteng is bent on wooing Ina, the latter is gradually falling for the charming gentleman who failed to tell her that he’s married. What’s worse, Ina’s children aren’t pleased with their mother’s new paramour, and they’re too happy to let him know.

Over at Engkantasia, the situation has turned hopeless. With the help of other fairies, Ina Verde and Ina Asul (Precious Lara Quigaman and Megan Young), they have to summon the help of Enteng and bring to fairyland their “bagong tagapagligtas” (new savior) who happened to be – Ina Montecillo! And they have to get there fast before Faye, Ina Magenta and the whole fairyland fall under the sovereign of Satana! Will Enteng, Ina and the gang succeed against ghouls, monsters, witches and a giant Cyclops? Guess.

Hurdling the narrative stretch is a feat, but there’s novelty in the cinematic pairing of the two biggest box office draws of the MMFF. With a reed-thin plot that fuels this smorgasbord of genres (comedy, drama, horror, fantasy, action, adventure), the movie rests solely on the spirited performances of its cast, and its episodic endeavors at humor. Ina and Enteng’s rendezvous is indeed novelty, considering we’ve somehow grown accustomed to them. They’ve become guilty pleasures; they’ve become part of our Christmases, whether we deem them substantial or not! Ai-Ai de las Alas and Vic Sotto enjoy a comic chemistry that at times feels genuinely funny; other times banal, mundane. But it’s hard to ignore the light banter between these two veteran comedians. Their scenes mostly work even with the occasional awkward moments when the romantic strain becomes a burden. This uneven consequence is reflected in the movie going experience, taking us on a roller coaster ride of mediocre gaffes, heartwarming deliverances and the comfort and relative succor of familiarity with the characters.

Eugene Domingo returns as the rambunctious and hysterical Rowena who takes advantage of most of her limited screen time. Domingo lights up the screen with manic energy. She’s our adorable comic muse for a reason. Her timing is impeccable, her delivery crackles with whimsy. This comic intuition is borne out of her theatrical experience, I surmise. Either that, or she's unadulterated genius. It’s notable that, despite her cinematic successes, she hasn’t turned her back on the movie series that helped showcase her comical magic on screen. In a scene where Ina learns of Enteng’s “deception” (he tells her that he’s married, that their romantic dalliances was from a witch’s spell, and that he’s still in love with his fairy wife), Rowena suddenly pulls a panel behind the wailing Ina, chasing her around with the set piece. “Dito ka sa harap nito umiyak, mananalo ka ng award!” she deadpans. Though on text, that isn’t humorous. Her glib delivery had me cracking up. Kakaloka ka, Eugene!

Enteng gets spellbound by an anonymous lady (Pauleen Luna).

There are send-ups from popular movies (“No Other Woman”, “Won’t Last a Day Without You”), but they mostly fall flat. The humor cake is mostly served in the interaction between Enteng and Ina, and the sporadic scenes of the ebullient Eugene Domingo.

MESSAGE

The message of strong familial ties resonates loudly in the intertwining stories of Ina and Enteng. Societal woes batter the dynamics of living a harmonious family life, yet it is instructive to note that when we we're required to hurdle insurmountable problems, we ultimately find ways to unite and fight our battles together - as a family. And isn't that the essence of a Filipino family?

SPOILERS!

The funniest scene in "Enteng ng Ina Mo" transpires at the concluding scene when they realized that Aiza Kabisote (Aiza Seguerra), Enteng’s lesbian daughter, got pregnant. The father: Ina’s gay son Pip (Uytingco) who then testily reminded Aiza: “Ikaw kasi, kalabit ng kalabit!”

It’s interesting to note that the scenes away from Engkantasia (which monopolized the last fourth of the movie) were more compelling than the invasion-and-rescue which was hackneyed. We’ve seen them before. We could close our eyes and chronologically predict what’s going to happen next. The novelty of such obtusely choreographed fight scenes (with decent CGI’s) has worn off two years ago. People are eventually going to tire off such drollery. See how people have gradually dismissed Bong Revilla’s “Panday 2” with briskly dwindling numbers.

Yes, the gang’s back but we need narrative substance too.

Rowena shares her thoughts. to bestfriend Ina.



Faye rehearses her fairy spells.


"Hi, kids. I'm Mr. Pogi," remarked Enteng.


"Could you lock the door?" Enteng tells Ina. She replies with, "No, Enteng, please don't!"


Giant cyclops