Rico Maria Ilarde's Pridyider - Malevolent Souls

Uncertainty cloaks Christina Benitez’s (Andi Eigenmann) homecoming. It’s been 20 years since she last set foot on the home she once shared with her parents (Joel Torre and Janice de Belen) before the gruesome events that eventually overtook the household. She had since been taken by her aunt (Lui Manansala) to San Francisco where she was raised - beautiful (she is plagued by talent manager Dick – played by Baron Geisler), talented (she finished culinary and is cooking up dishes for a restaurant she plans to open in the Philippines) and conflicted about the fragmentary, albeit sketchy anecdotes she keeps getting about the demise of her mother – and the disappearance of her father. “Bakit nila ako iniwan?” she naggingly asks herself. But she gets no answers.

Home turns out to be a dilapidated house in a desolate fogbound subdivision on the throes of commercial development. Dust has settled long ago as it has been deserted in years. Lights flicker irregularly and a silhouette seemingly hovers around the dark corners. She arrives to an empty abode filled with fading photographs and clunking appliances that have seen better days. Among these is a giant refrigerator – ang “pridyider”.

Tina stays by herself, mostly immersed in experimental dishes. But at midnight, she discerns a presence, and tumbling sounds that bump in the night. And she is made acutely aware of the historical conundrum that inundates her past. She has to know more about her parents. She needs to know what happened to them. Was mother the crazy woman she keeps hearing about? Where was her father? If he were dead, why didn’t they find his body?

The unpalatable answers unravel gradually. Her father was an amorous man who sought the affection of other women while her mother was constantly enveloped by jealous rage. Her love for her husband so consumed her that he made a pact with the devil to summon his affection. She was to perform a ritual involving body parts of all the women he’s had affairs with, capped by the blood of her husband. Unfortunately, she wasn’t able to complete the ritual. To avoid getting caught by the police authorities, she hid inside the refrigerator – and died! Since then, the mother’s sinister spirit has possessed the refrigerator. She habitates the household.

To face her dilemma, Tina enlists the help of nosy neighbor Celine (Venus Raj) and her girl Friday Agatha (Bekimon); her childhood friend James (JM de Guzman); a petrified priest, an albularyo and a creepy anophthalmic former investigator, Detective Albay (Ronnie Lazaro) who has lived the life of a recluse after dropping the unsolved case.    

As Ilarde’s story is seamlessly told, the cast renders an engrossing performance all around. Andi Eigenmann limns her character with emotive panache. Her thespic control is remarkably fine tuned, and this is nothing short of admirable. There are no excesses there. Acting prowess must really be genetic. JM de Guzman, stripped of the need to sentimentalize his scenes, is adorable and enjoys great screen chemistry with Eigenmann, which is quite unexpected. Ronnie Lazaro recreates his Inspector Albay with indecipherable stroke reminiscent of his character in Richard Somes’ “Ishmael”. Even Venus Raj is interesting as she is quirky. Joel Torre, one of this year’s busiest actors, is likewise engaging. But it’s really Janice de Belen who runs away with her sinister presence. Malevolent and doomful, De Belen reminds me of Carmina Villaroel’s creepy turn in Yam Laranas’ “The Road”.  Seeing her stand frozen with chopping knife makes you wanna hide in some cave in the far reaches of Vanuatu!   

“Pridyider” pays homage to the original “Shake, Rattle and Roll” (1984). In the original film, Ishmael Bernal directed Janice de Belen for the trilogy’s 2^nd episode with similar title.  In the current version, De Belen’s iconic scene (she opens the ref’s door and thrusts her sweaty body deeper into the refrigerator) is reenacted by Eigenmann. Though the story is different, the narrative arc is similarly engaging.

The cinematic elements work well: the setting renders a spooky atmosphere; Teresa Barrozo’s music eerily lingers unobtrusively; Mackie Galvez’s cinematography sparkles with clarity even in dimly lit scenes; the CG effects are more than commendable as well. In fact, those tentacle-like monsters move with visceral feel. They don’t look artificial. Baron Geisler’s scene (he was being devoured by the ref) was particularly eye-catching. Ilarde and Onay Sales’ script avoids the unnecessary excesses customary in ardent horror flicks. All these result to a coherent story that moves with due pacing.

There are minor cracks in the story that could have been secured and adjusted: if Tina’s father really cared for his daughter, what kept him from making correspondence with Tina? Surely, a snail mail with an explanation could have prevented Tina from eternally wondering why she was “abandoned”. In this age of new technologies, there’s really no logical explanation for staying away from a loved one unless 1) you’re dead; 2) you were swallowed by a Black Hole; 3) you’re all lip service and the truth is, you just didn’t care enough. Twenty years is a long time to be away.

The scene at the hidden basement (or was it a “cave”) was reminiscent of a scene in Katie Holmes’ “Don’t Be Afraid of the Dark”. With victims’ heads indiscriminately appended on walls, Ilarde fabricates a gruesome world of the restless undead. This disturbs more than many other horror scenes from the recent past.

“Pridyider” could have floundered in high camp. Venus Raj’s humorous turn is akin to this temperament, but her character was beautifully moderated that her presence didn’t feel importunate to the plot. Otherwise, it could have provided a “major major” debacle. More importantly, Raj provided some welcome quirkiness to an otherwise sedate predisposition. Every aspect of “Pridyider” is well tempered making it one of the year’s most engrossing horror ride.

James fixes Tina's electricity woes.

Inspector Albay aka Ronnie Lazaro aka "Ishmael."

Making pact with the devil - and more.

Tentacled monster and Alfred the cat.

Attack of the hungry refrigerator.

Now what do you call this?

Daughter and father scream for help.

Creepy mama is fueled by her jealousy.

Victims at the basement.

Albularyo fights with the evil spirit.

Andi Eigenmann (above and below)

JM de Guzman (above and below) as James. He manages an electrical shop.

Venus Raj as nosy neighbor Celine

Baron Geisler is Dick., a Hollywood agent. He's attracted to Tina. 

Asiong Salonga Story - The Land of Posturing Potbellied Gangsters

There are valid reasons why biopics are produced, the most common of which is to tell the story of a popular figure; the “real” one that explains his origin and motivations. Another is to demystify a persona steeped with preconceived notions; strip him out of hearsays and hyperbole; venture on this personality’s charm or notoriety, and understand why such personality fascinates the public.

One of these personalities was Nicasio “Asiong” Salonga.

Asiong Salonga (Jorge Estregan aka ER Ejercito) is an iniquitous mobster boss from Tondo who, in the late 40’s, lived a fast life with plenty of guns and a coterie of women. He was clannish and patriarchal of his townmates, yet implacable towards his enemies. People either feared or admired him. When he married Fidela (Carla Abellana), his grasp of the criminal underground burgeoned further. It helped that his brother, Domeng Salonga (Philip Salvador) was a well decorated, albeit highly regarded police officer. He became so influential that even political parties (he’s pro-Liberal Party) would compete for his good graces and ultimately, his endorsement. Asiong was also generous to the poor, earning him the moniker “Robinhood ng Tondo”.

But not everyone was pleased with Asiong’s rise. His main nemesis constituted a group of miscreants headed by Totoy Golem (John Regala) who wanted him “discarded” for good. After a series of retaliatory shootouts, Asiong was put in prison where he befriended a cellblock mayor (Jay Manalo) who helped hatch an escape. Unfortunately for Asiong, he was imprudent. He got caught. Not long after this, he was propositioned to foil an assassination plot against a local Liberal Party standard bearer who carried enough political heft to give him a parole.

Asiong reclaims his hold in the underworld mob, but had to contend with betrayals within his men. He learned of Erning’s (Baron Geisler) abusive streak. One day, Golem invites him for a conciliatory meeting, unaware that Erning has “jumped ship”. Would Asiong survive the plot?

Filmed in glorious black and white, this ambitious opus has the visual savvy reminiscent of Wong Kar Wai and vestiges of Jonathan Sela’s eye-popping camera work in “Max Payne”. But “Manila Kingpin – The Asiong Salonga Story”, a film not directed by Tikoy Aguiluz, is all gloss and cinematic posturing. The story is pretty trite and uninsightful. It offers a plot that might as well be another henchman’s story. There’s nothing distinct about its narrative. More importantly, it forgot to tell the story behind what we already know: Which family reared him? What made him who he became? We needed to understand the genesis of a mobster – but this wasn’t on the cinematic plate. Was it a problem explained by the very public altercation between director Tikoy Aguiluz (who did not direct this movie, let me be very clear) and the Laguna governor and executive producer? I doubt.

Whether it is Aguiluz’s 115 minute cut or Ejercito’s 150 minute copy, it is obvious that the problem is in the substance, casting and cinematic vision. Or should I offer it to be re-titled to “The Land of the Potbellied Gangsters”? The movie purports to re-introduce Asiong Salonga to a generation who has no idea of his name or nature. It intended to bring back the old-fashioned “Pinoy action movie” which has, thankfully, died a natural death. It intended to make Jorge Estregan a legitimate action figure and dramatic actor in one sweep, something that he never succeeded in his younger days. He was, after all, a starlet, riding in the coattails of his family’s ear-friendly surname. Did anyone remember him in films like “Mga Paru-parung Buking”, “Boy Tornado”, “Kumander Dante”, “Pepeng Kuryente”, and “Gapos Gang”? Didn't think so. Does anyone remember the governor star in a film called “Asiong Salonga: Hari ng Tondo” in 1990 (directed by Armando de Guzman, Jr.)? Why would you remake something that didn’t work the first time? The indomitable human spirit is sometimes nothing but a meaningless folly.

Jorge Estregan doesn't possess the charisma of Joseph Estrada or Rudy Fernandez who both starred as Asiong Salonga in 1961 and 1978 (Title: “Salonga”, co-starring his father, George Estregan) respectively. His signature expression is that of a scowl, and when he’s angry, it turns into a devilish gaze (“nanlilisik ang mga mata”), something that isn’t too different from “the scowl”. Even his declarative sentences feel like constipated ramblings. His foray into real emotions provokes somnolence. Carla Abellana is luminous, but watching her lock lips with the governor inspires goose bumps; it’s a gag-inducing sight. It’s like mixing turpentine and milk, then taking a swig. It’s a potently visceral sensation.

The film, conceived as an action opus, is populated by actors sporting Santa Claus bellies. Seasonal requirement, perhaps? But a genre has to follow a physical criteria to be believable – or did the gangsters of old Tondo really sport such watermelon guts? If these were to find itself in international exhibits, wouldn’t the audience question the use of such unfit actors for a slambang action? We should get Sharon Cuneta for a new "Darna" film, if that's the case.

Others in the cast are wasted in Ejercito’s shadow: Baron Geisler (who’s as nefarious here as his public persona), Amay Bisaya, Joko Diaz, Ronnie Lazaro, Yul Servo, Roldan Aquino, Ping Medina, John Regala, Philip Salvador, Dennis Padilla, Jay Manalo, et.al. The ladies are mere decorative habitues: Carla Abellana, JC Parker, Paloma and the beautiful Valerie Concepcion whose sophistication belonged to that era. Even Asiong explained the role of women in that era: “Dapat lagi kang maganda, malambing, at hintayin mo lang ang pag uwi ko.” Ouch. Don’t we have the right to impose the same? That he should look handsome, at least – if we’re to do what he said?

In one slow motion scene, Asiong charges into a compound filled with his nemesis, each one carrying heavy artillery. In the succeeding gun fight, he decimates 3 dozen armed thugs without even ducking or running for cover. He just took his stride forward, stood unflinchingly stiff, and fired his gun while bullets crossed his path. He came out unharmed. Talk about spectacular, right? Maybe he possessed the powers of Pepeng Agimat or Kumander Inggo?

DISPLACED MUSIC

In another scene, Asiong takes his wife Fidela to a club where we find the handsome Ely Buendia laboriously singing a “kundiman” – a song called “La Paloma”. This scene felt misplaced because haranas and kundimans required full-bodied voices a la Diomedes Maturan, while the iconic Buendia has thin pipes and nasal singing. You do wonder about such artistic choices.

The best part of the movie is the posturing of our protagonist. He stares like he’s ready to devour. He sports an attitude that belies calm and composure. If its attitude we want, its attitude we get… with the pot belly, of course! And not much else.

Totoy Golem (Regala) isn't happy with the competition.


Baron Geisler is Erning


Carla Abellana and Jorge Esregan


Compare Asiong Salonga and a Wong Kar Wai flick (with Tony Leung)


Mark Wahlberg as "Max Payne"


Faces of Asiong: Joseph Estrada and Rudy Fernandez

revitalized after the disappointing holidays

With exams all behind me, i found myself enjoying the humdrum of my life as a shoe-obsessed, film-loving, Mauritius-dreaming Manila girl... so i gallantly offered to pay for my friend's movie seat to watch "Jay" - this Baron Geisler indie that my friend doesn't want to watch.

Lately, most of the movies that I've invited him were so bad he ends up literally vomiting after watching. This started with the whole line-up of Metro Manila Film festival trash that made my head spin. I have single-handedly busted a little fortune paying for the admissions of these basuras. My friend just laughs at my rants saying i deserve this artistic bankruptcy for patronizing the aforementioned movies. "Buti nga so yo," he keeps taunting me. Why? Because I patronized Pinoy films during the whole festival bonanza?

He was saying how asinine Joel Lamangan's Desperadas 2 was. And that I dozed off at a cartoon called Dayo - and I have always LOVE animated films! Don't rub it in! And Shake Rattle and Roll? Shouldn't they have buried this franchise back when Rambo was king? Then there's the multi-awarded Baler! Oh gawd! Whatever happened to occasional director Mark Meilly (he directed 3 films in 5 years) who brought cinematic gems (Crying Ladies, La Visa Loca) in the past. Every bit of that movie was plain amateurish! Para kang nanood ng school play na nagbabaril-barilan ang mga sundalo. LOL.

Then comes "Jay". Ok, I shelled out an extra P120 just to have a friend watch this movie with me. Guess what! After a sketchy start, the whole piece came through. This was a rewarding experience at the movies. People should watch this instead of all those TRASH that polluted the Christmas holidays! Lintik! Pinagastos pa ako!