Michael Angelo Dagnalan's Paglaya sa Tanikala - Matteo Guidicelli and the Saint

Berto (Micko Laurente) is a vagrant who roams the streets sniffing solvent. To support this addictive inclination, he snatches cell phones and wallets for a syndicate headed by Nardo (Nicco Manalo) and his ornery minions. One day, Berto, with his head still in the clouds, meets Brother Jerry (Matteo Guidicelli), a cathechist, who invites him to Casa Miani, an orphanage run by the Somascan Brothers. Though dingy and uncouth, Berto is embraced by the congregation who gradually introduces him to the Catholic faith and the prodigious story of St. Jerome Emiliani, patron saint of orphans.

Jerome Emiliani (also portrayed by Guidicelli), son of a noble Venetian family, lived in the tempestuous era of the late 14^th century. Though his lifestyle was fraught with vices, Jerome was a good soldier who, at 25 years old, found himself steward of Castelnuovo, a fortress in the Italian mountains. Maximilian I, King of the Germans, eventually headed the siege of Castelnuovo and took Jerome as a prisoner, throwing him in a dungeon. While incarcerated, the brave and fallen soldier reflected on his life of sin and began praying to the Blessed Virgin Mary. He vowed that if he is freed from his shackles, he would change his ways and work for God’s glory. The Virgin Mary heard his prayers. Once free, he went straight to a church in Trevisio where he hung his prison chains in front of Mary's altar, thus the titular “Paglaya sa Tanikala” (Freedom from Chains). As promised, he was later ordained priest in Venice, devoting much of his time for the homeless orphan children. His story, intermittently told in disparate chapters, becomes Berto’s inspiration as he embraces his new family.

But something sinister is brewing in the horizon. Berto gets a visit from a seemingly well meaning couple, Nardo and Jenny David (Manalo and Sue Prado) who tells the parish rector (Jaime Fabregas) that they want to adopt a child. Once alone with Berto, Nardo – the syndicate head – instructs Berto to prepare for a heist, one that would divest the orphanage of its limited funds. Otherwise, he would hurt the other children. What to do? 

Stories of heroes and saints need to be told because they live an exemplary life. There are pages in their stories other people could cogitate on and emulate. However, it’s imperative that these stories don’t come out like propaganda. Otherwise, people would stay away in droves. Unfortunately, Director Michael Angelo Dagnalan’s work runs like one. It is preachy and brazenly milks its contrived plot with less savoir-faire that the vacillating narratives allow.

Imagine talking to a hungry, sleepy child like this: “In 1523, Father Jerome moved from Venice to…” What child wouldn't lapse into catatonia? And what nefarious couple (Prado and Manalo) would dress up as a decent couple just to blackmail a child in an orphanage? The act of masquerading itself is too fairy tale-ish to be taken hook, line and sinker. Manalo and Prado come off caricaturish, delineating characters too blatantly pasquinade.

Matteo Guidicelli makes for a dashing catechist who moonlights as an arnis instructor. I half expected him transforming into Captain Barbel. But Guidicelli is even more fetching as the valiant Venetian soldier who fought for his castle. He looks and speaks the part. Trouble is, Matteo's delivery requires more conviction as Jerome Emiliani. While I could swallow (well, barely) the soft-and-slow spoken, albeit calculated Tagalog delivery as the demeanor of a “religious” (Guidicelli is said to speak impeccable Visayan), his Italian gent-and-priest is rather tentative; more artifice than insight.

While the handsome star isn’t absolutely successful in his dual depictions, child star Micko Laurente hurdles his part like a pro, enveigling his pertinent transformation from a streetwise dope head to a reformed child with remarkable aplomb. Laurente is a find, and probably the only thing worth remembering in Director Dagnalan’s otherwise maladroit tale. Surely, Saint Jerome deserves better.

Fighting with the "Alemans".

St. Jerome Emiliani, Patron Saint of orphans.

Hit me gently, Matteo. Ayayay! :)

Tyrone Acierto's The Grave Bandits - Fun Time in Zombie Town

William Seabrook (Robert Nunes), a scientist, hires an ornery band of hooligans headed by the shadowy King (Millard Keung) to locate Maiya (Jill Palencia), the descendant of an ancient tribe believed to possess treasures worth billions of dollars. Upon finding the girl, they acquire a gemstone, a green diamond, believed to have fallen from the skies. On microscopy, a virulent strain of virus is found therein. Chaos ensues as the pirates seize control of the expedition, briskly infecting everyone in the island.  

Meanwhile, 17 year old Romy (Ronald Pacifico) and his friend Peewee (Martin Sandino Sa Juan) earn their keep by digging graves, plundering from the corpse’s possessions: wristwatches, jewelries, and even the occasional gold-plated tooth. After all, “dead people don’t need material things”. Their vocation has taken them outside the big city where they’re notoriously called the grave bandits. While Romy craves for material riches (“cars, a big house, three wives… with no children”), his 12-year old partner just wants to find the mother who abandoned him. But they picked the wrong town for their latest heist. They’ve become earnestly pursued. As a last straw, they hop into a boat, sailing across the sea until they reach a remote, seemingly uninhabited island. What they didn’t realize, the island is filled with ravenous, flesh-eating zombies!  

Ronald Pacifico plays Romy

Martin Sandino San Juan plays Peewee

The world has an ongoing fascination with the undead, along with post apocalyptic fares: Danny Boyle’s “28 Days Later” (UK), Murat Emir Erin’s “The Island: Zombie Marriage” (Turkey), even Bangladesh has its own zombie movie. The genre is spreading like wildfire. Last year, Brandon Relucio  and Ivan Zaldarriaga’s “Di Ingon Nato” (Not Like Us) was a zombie treat in Visayan dialect.

This year's  worthy addition to the genre is Director Tyrone Acierto’s “The Grave Bandit”, a visually sumptuous nail-biter that, though riddled with clichés characteristic of the genre, is unadulterated cinematic magic! It pulsates with convivial disposition like a shot of adrenaline.

The main protagonists are spirited characters who grow on you. It helps that Pacifico (a fisherman’s son) and San Juan enjoy comfortable banter that allows natural humor to course through the narrative. What’s more amusing is Pacifico’s exchange with Nunes, playing the “mad”, albeit greedy scientist Seabrook: his facility of the English language and his intuition for humor are a bit too advanced for a grave-digging scavenger: “It’s not stealing; it’s recycling;” “So you saved me so I can save you!” Nonetheless, these moments carry a slice of charm, as our poverty-stricken heroes aren’t dumbed down. Besides, in a realm that habituates the silver screen, you sometimes require a leap of faith to fully embrace its entertainment value.

There are valid points appended to contribute to the steadily growing myth of the malevolent population of the undead: like saying that “whoever touches its blood becomes a follower” (though, of course, we’re aware that a “bite” is essential to become one); that alcohol confuses them - and that the stench of urine poured all over the body prevents these creatures from attacking you. Just be careful you don’t get rained on, debah?

Jill Palencia plays Maiya. Her character is feisty and plays a pivotal role in the narrative. The character, I feel, needs a little embellishment to be truly empathetic.

Robert Seabrook plays sinister scientiist William Seabrook who could visualize a virus in a  small microscope. Imagine that! :)

Like most horror films, there are moments of sheer stupidity. When Romy was about to leave the island, he saw the zombies from a distance running towards him. Instead of joining Maiya and Peewee in the boat, he just stood there waiting for them to get to him. If he did the logical thing, it would have cut the running time by 30 minutes, wouldn’t it?

Production value is above par and could give many mainstream features a run for their money. Cinematography (Marcin Szocinski), for example, is a visual buffet, with crystal quality even in dimly lit scenes. More than that, the placement of cameras are a genius concoction of quasi-Tatami shots and occasional oblique positioning, yet they don’t inspire vertigo as most handhelds. This allows a fresh perspective for the viewer. Moreover, this flurry of techniques imbues a sense of urgency to the constant and frenetic mobility of its characters. However, a bit of care has to be taken for those skewed horizons. Mother Lily’s team (not to mention Vic Sotto and Bong Revilla) of horror-meisters could benefit from Acierto’s creative think tanks. But then, not everyone can afford to go to Columbia or Switzerland. J Then there’s Cecille Baun’s prosthetics. Baun, an iconic figure in her field, delivers some of her most masterful creations here. You suddenly wonder how much the production has for its budget.

Acierto’s “The Grave Bandits” deserves a full commercial run because it can be enjoyed by a mainstream audience. He populates his narrative canvas with fetching characters and a plot that bristles with excitement and pulse-bounding adventure. Now you only have 3 more days to catch this film in Glorietta! Run!

TM Malones' Salvi - Abundance of Vision

In the not too distant future, civilization, as we know it, has ceased to exist. The world reels from over population. To control this dilemma, women are sequestered in concentration camps. Meanwhile, a wandering soul navigates the hostile surroundings, with a hood that shields her identity. Sabel (Brittany Marie Baldoza) tries to stay under the radar to avoid the fate of other women. Then she finds Abet being attacked by gay thugs. Will she lend a hand at the risk of revealing her identity?

Director TM Malones' post apocalyptic tale is a delectable cinematic concoction that judiciously re-imagines an uncertain future ravaged by the excesses and follies of humanity. Told with brisk pacing and a well-assembled set, this Cinema One entry, one of the eight short films shown this year, showcases what Regional Cinema is capable of doing. With more than competent camera work, the film also underlines the fact that you don't need 2 hours - or 12 hours - to make a diverting narrative! My quibble: the absence of subtitles. As a viewer, you end up wondering what their Ilonggo dialect was saying. This distracts and diverts for a truly immersive viewing. Wa ko kasabot gid!

Now, imagine this story in its expanded form.
 

Sabel navigates in the shadows.

Khavn dela Cruz's Edsa XXX - Five Star Awful

In the year 2029, the world looks like an abandoned war town bathed by surreal psychedelia. In the struggling nation of Ek-ek-ek, a reluctant leader Tatlong Mata (Epy Quizon) is shoved into the political maelstrom of a newly installed government sinisterly maneuvered by self-serving benefactors called Hukbalaka who linger with ulterior motives. 

The aforementioned clandestine group, of course, want national domination. A flurry of odd characters further influence Tatlong Mata’s every action: his sexy girl friend Ana Mari (Sheree), as well as an Amazonian movement headed by Mariana Mariano (Althea Vega) who plots to foil the ministrations of Hukbalaka.

I came into the film looking forward to enjoying what promised to be a brilliant satire; a superior film. After all, this had glowing reviews all over the worldwideweb. I rarely read reviews prior to watching a film, but I felt I had to make heads and tail about its plot before diving into a film from one of the mavericks of the Independent Philippine Cinema. Besides, this was among a dead critic’s bucket list – a musical from director Khavn de la Cruz. The film maker is known for infusing mixed media in his films. Meryll Soriano’s “Paalam Aking Bulalakaw” (2006), for example, had delectable poetry and dreamy music framing the inherent narrative. He’s had a lot of “music” in his works even before “Edsa XXX” came about. This should be a treat, right?

Unfortunately, that wouldn’t be the case. While several critics have given it their highest marks, a sophisticated action of gargantuan mystery, the film is one egregious mistake. To add some flair into its otherworldliness, Director Dela Cruz employs the fisheye lens to further skew its message, delivered in harrowing pages of what he fashioned was a mixed bag of humor, satire, rock musical, dance revue, and whatever it was that he set his mind to. The result is one alienating tripe that’s more rubbish than alternative.

This makes their associated labelings: “The first movie filmed entirely in Corregidor Island” and “shot in fisheye lens” – utterly unnecessary and dubious. I can in fact make a film using the “bottom of a coke bottle” and it won’t amount to much without valid storytelling. The songs are loud (as rock anthems should be), dissonant and melodically spare, you’d wish you were crapping in a toilet than summoning hypertension in your seat. And true enough, someone was filmed taking a crap in one of the crannies of the Malinta Tunnel. If you don’t believe this, try googling for its theatrical trailer. The film in its entirety felt like a desecration of a historical site. They had jokes that no one found amusing. Otherwise, I would have heard even a single chuckle during its screening. Of course, I probably saw the film on a different day than when any of the amused critics watched it. There was so much irritable ugliness in the amateurish blocking and dance sequences, they seemed like random parts of a long dress rehearsal. By curtain call, it was clear that someone needed to be burned at the stakes.

Tatlong Mata (Epy Quizon) and Ana Mari (Sheree)

My whole Cinema One movie viewing was relatively pleasant, but “Edsa XXX” inspired suicidal tendencies. This was painful; a major irritant. Iyaya, my BFF, excused herself to go shoe shopping instead, refusing to do her cinematic penance. “Life is too short to suffer like that,” she whispered before leaving me. And she had every right to do so. After all, she was a paying consumer and thought this was money down the latrine. Why then were there glowing reviews all over, she later asked? There was obviously a term for this affliction, and I couldn’t help but laugh despite my frustration.

During this festival, I kept seeing this Caucasian guy who watched most of the films screened during the festival. I must have met him almost a dozen times, missing him only in 4 films. He always carried a backpack with him. I overheard him say that he would usually travel to Manila to watch our tourist-trapping film festivals. This is good news, if a tad surprising, right? When I saw him outside, after “Edsa XXX’s” screening, he was telling his friend, “That was quite awful.” Five-star awful, and I couldn't agree more.  

Althea Vega dances the tango.

Crapland. Yes, someone actually crapped!

Historical ruins and the figurative cinematic structures.

Sheree as Ek-ek-ek's First Girl Friend Ana Mari, a former prostitute.

Sari Lluch Dalena & Keith Sicat's Himala Ngayon - What Makes an Epic

What makes a great movie? More importantly, what constitutes a memorable film?

Sari Lluch Dalena and Keith Sicat’s documentary, “Himala Ngayon” offers a glimpse of what went on behind the making of the iconic Ishmael Bernal film that would have CNN declaring it as the “Best Asia-Pacific Movie of All Time”, outclassing even Akira Kurosawa’s “Seven Samurais”.

It all started at a time of strife when the land was ruled by the repressive Martial Law. Writer Ricky Lee came across a news article about a girl named Belinda Cabra from Mindoro who, in 1966, had visions of the Virgin Mary. Her story provided the incipient idea that eventually became Elsa, an orphan girl from the arid and long suffering village of Cupang, who claims to have seen the Virgin Mary. When Lee peddled his script to film producers, no one would touch it with a ten-foot pole. It was considered “undoable” and just too ambitious. Enter Imee Marcos who, in 1982, spearheaded the Experimental Cinema of the Philippines (ECP) – a brain child of the then-First Lady Imelda Marcos.  Among ECP’s realm was to provide financial assistance to a select number of motion pictures through a film fund. The production company eventually produced some of the country’s best films: Peque Gallaga’s “Oro, Plata, Mata”, Pio de Castro’s “Soltero”, Abbo de la Cruz’s “Misteryo sa Tuwa”, Celso Ad. Castillo’s “Isla” and Ishmael Bernal’s “Himala”.  

Lee considered several names to direct his script: Mike de Leon (with whom he’s done 3 films in the past) and Lino Brocka (who directed his “Jaguar” script). De Leon was, however, in hiatus, and Lee wanted a megman with a different take: “isang sensibilidad na nakaangat nang konti”. Brocka was a down-to-earth realist. Religion, after all, requires faith, a rather abstract concept that’s far removed from realism, but nevertheless permeates the Filipino psyche. For his story, Lee wanted “Himala” tackled with the temperament of the European film masters like Godard, Bergman and Truffaut. Lee, at that time, adored the aforementioned masters. In fact, he managed a shop (“Shop and Lift”) in Greenhills that offered such films. Getting into the production was a different matter as well: Lee was among those thrown in jail for his thoughts against the Marcos dictatorship.

The narrative that Ricky Lee pitched to ECP was a 12-page storyline where “ang bida na assassinate”. Moreover, it included a “stampede” to conclude it. Not very commercial, wasn’t it? While most production outfits balked at the idea, ECP embraced it. But there were more stumbling blocks: Nora Aunor, picked to play Elsa, was embroiled in a legal mess; and Assistant Director Joel Lamangan was in jail. Imee Marcos pulled some strings and called Fabian Ver (then AFP Chief of Staff) for Lamangan’s release. (The latter denied this, saying he was already out of jail when production started. Lamangan would then move on to head crowd control, a salient matter in the production.) “It was my 145^th film,” La Aunor mentioned. That year, she completed commercial films like Arman Reyes’ “Palengke Queen”, Pablo Santiago’s “Annie Sabungera”, Joey Gosiengfiao’s “No Other Love”, Romy Suzara’s “Mga Uod at Rosas”, and Danny Zialcita’s “T-Bird at Ako” pairing her off with erstwhile screen rival Vilma Santos who, that year, was a thespic thunder appearing in box-office dramas like "Relasyon", "Karma", "Haplos" and "Sinasamba Kita".  

Clockwise from top left: Nora Aunor, Ricky Lee, Pen Medina, Ishmael Bernal

The documentary then lurches into the different aspects of the film making.

Location: The story required a place ravaged by drought. It was the story of a cursed town. As anecdote would have it, the Virgin Mary, dressed as a beggar, was turned away by the town’s folk, and the sprawl of the land has since been devoid of rainfall and the bounties of the land. “Si Papa ang location manager ko,” remarked an amused Imee Marcos. The province of Ilocos was then chosen as the setting. It was easier for the production because Marcos could conveniently ask the help of the army to transport people and stuff. Upon reaching Paoay, all they saw was how lush and green the place was, which became a dilemma. Good thing  they found Suba Beach which was blessed with undulating sand dunes and a look that mimicked drought-ravaged lands.

Budget: P2.5 million was initially allocated for “Himala”. This ballooned to P2.7 million during mid-production. In 1982, this was a staggering amount for any film project and had producers, Charo Santos-Concio included, shivering in their pants. Would they be able to complete it? Absolutely – and to the tune of more than P3 million. While this seemed sacrilegious in the context of social ills and poverty for the thousands of dispossessed Pinoys, high art doesn’t conform with a budget, or does it?   

Script: There were constant revisions during the filming. Lee would find himself constantly commuting between Manila and Paoay, enduring 7 to 8 hours of bus ride. “Naguluhan ako,” Lee would complain due to the endless revisions. This also highlights the importance of artistic collaboration and dynamism in film making. Though hailed as brilliant work these days, Lee remembered how the film got mixed reviews from critics: “Though it won 9 out of the 10 awards at the MMFF, they raved everything about it, but the script.” Some would even say, “Wala naming ginawang iba (si Nora) kundi magdidipa,” which is really a succinct way of showing ignorance of the medium. Lee would then offer this: “Maganda lang ang karanasan mo bilang writer kung nahirapan ka.”

There were preeminent moments in the documentary that highlight film logistics and attitude: Actor Pen Medina, who played Pilo, the barrio lothario and boyfriend of Elsa’s confidant Chayong (Laura Centeno), moaned about Ishmael Bernal’s demeanor and gargantuan temper. He pointed out a scene where he was made to roll down a pig sty as he made out with his girlfriend. “It was unnecessary,” he said. Joel Lamangan, who was production manager for crowds, was made to secure pigs to join Medina and actress Laura Centeno for the love-making scene. “Hinihila namin ang bayag ng baboy para mag react kasi gusto ni direk na mag react ang dalawang baboy habang gumulong gulong sa lupa ang mag boyfriend,” recalled Lamangan. Medina also lamented about Bernal’s disposition towards his cast and crew. There was a subclass he could dress down, embarrass, and curse at. In fact, at the height of Bernal’s tantrum, he would throw stuff around, destroying sets in the process. Lamangan fell victim: “Mag reresign na nga sana ako kasi binato ako ng silya.” Bernal would later cajole Lamangan: “I wasn’t mad at you. Ikaw lang ang tinamaan,” which is a funny way of rationalizing an irascible tantrum. Fast forward to the present, Lamangan is known for his volatile deportment.  

The final scene was close to impossible to field. It had a crowd of 3,000 that had to depict pandemonium when Elsa was finally shot. Nora’s spiel would go unrehearsed. "Pakiramdam ko talaga, ako si Elsa," La Aunor said. That scene was going to be one long take: “tinuhog” using 4 cameras all over the place. There wasn't going to be a retake because it would require sets to be reconstructed and the film was already morbidly over-budget at P3.2 million. When the cameras rolled, it was simply a scene of fluid pandemonium and breathtaking proportions. The rest, as they say, is as the cliché goes.

There were behemoth problems during the film making, not the least of which was La Aunor’s accident: Off the set, during one of the cast’s down time, La Aunor joined the cast and crew's drinking spree. Aunor’s assistant was forewarned not to allow a drop of alcohol for the Superstar. “Pag nalasing yan, gustong mag drive.” She got drunk. Drove to the wrong lane and hit a jeep that carried a pregnant woman. Aunor lay unconscious for 45 minutes, her shoes thrown out in mid-air. “Ang Gemini (car), parang accordion,” remembered the Superstar who suffered concussion. “Buti na lang walang nangyari sa buntis na babae at ‘di nag demanda,” recalled Aunor. The pregnant lady was a Noranian. Once again, this is a cautionary tale told without hint of amusement. There are lessons to be learned from such anecdotes.

The documentary has more priceless stories that entertain (like when Bernal had to instruct Aunor to cry with a single drop of tear “sa kaliwang mata”, and they needed a single take because the sun was setting fast; or how Lamangan was able to gather hundreds of physically deformed individuals for the crowd scene given only 8 hours to scour the population of Vigan).

BEAUTIFUL

Nora Aunor was 29 years old when "Himala" came about. I have never thought of her as "beautiful" until I saw the remastered version of the film. "Himala" to me was a film I saw (several times) in my video player, and its grandeur was clearly diminished by the medium. Watching "Himala" on the big screen was an astonishing experience, a new technology brought about by a new age gadget called 35 mm millennium scanner that allows color correction and picture restoration to old film reels, imbuing new life into old images. Nora Aunor, as Elsa, offered this, "Kung kalansay na tayo, ang matitira na lamang ay ang tinatawag na sining (art)". Old films allow us to rediscover what came before us. This restored version showed how truly beautiful Nora Aunor was in her prime. I couldn't take my eyes off her face! When she peeked into her window or glanced at photographer Orly (Spanky Manikan) with the slightest hint of a smile, you understand why mestizos and the prettiest of men were drawn to the magic of La Aunor. It wasn't just fame or fortune or even those legendary eyes, but real beauty. 

PASSING OF TIME

A favorite part of the document was how directors Dalena and Sicat were able to scout some of the extras from the film: a breast feeding mother (the child is now a nurse); a son and a father sitting by the roadside holding a rooster; old ladies; children made to blow air on used condoms. When their scenes were re-enacted and played alongside the original, it created a memorable experiment depicting the passage of time: the son, now wrinkly, sitting alone because his father had long passed away.

Drawing on interviews, alongside archival period footage, conducted with Nora Aunor, Ricky Lee, Imee Marcos, Charo Santos-Concio, Spanky Manikan, Pen Medina, Vangie Labalan, Gigi Duenas, Raquel Villavicencio, a number of the extras and the cast and crew, “Himala Ngayon” reflects on the film making choices of an epoch of great artistry; the mechanics of putting up a behemoth production 30 years ago, and the sumptuous trivias related to the iconic film, creating a time bubble fraught with nostalgia. It also provides a source of inspiration for a slew of film makers who carry on despite the odds. “Himala Ngayon” is a diligent work that’s as informative as it is entertaining.  

The faceless crowd employed no prosthetics. They were physically deformed individuals who braved the location which didn't have shelter to speak of. They were paid an "exploitation rate" of P100. Many of them were housed by the "northern sector" fans of Nora Aunor who opened their doors to help make one of the country's greatest films.

Sherad Anthony Sanchez's Jungle Love - Bewilderment in the Woods

In the far reaches of Western Visayas where foliage lushly insinuate over dramatic rock formations and cryptic caves, humanity is overwhelmed by nature. Amid this backdrop of greenery, we find a bevy of souls wandering in the different corners of the jungle:  half naked tribes folk, a band of military cadets jogging around and frolicking by the waterfalls, a mid-aged woman (Gloria Morales) carrying a newborn child, a traveling couple Martin and Mae (Martin Riffer and Mei Bastes) - and their wilderness guide Aldrin (Aldrin Sapitan). The woman loses the baby she was carrying. Who could have taken the child?

The exploring couple commence their sexual games, cajoling their guide to join in on the fun. Mei gets naked while Martin looks on. “How do you want your clit to be licked?” flirts Martin, as he starts playing with himself. When he gets an erection, he dandles, “Do you like this?” Martin prods their guide Aldrin to masturbate while looking at Mei’s naked body. The carnal game continues throughout their stay. Meanwhile, the tribesmen nearby engage in some ominous ritual, donning blue paint on their skin. The spirits of the jungle start to take over, blurring the reality for everyone. What happens when Martin starts having hallucinations? Or when a soldier (Renato Amar) finds a naked Mei?

Director Sherad Anthony Sanchez deliciously weaves a nonlinear tale about the human inhabitants of a jungle, framing his narrative montage with ethnographic accessory, like most of his earlier work. He laces his scenes with an almost abstract sketch of situations and ribald sexuality, it almost feels gratuitous when taken as separate scenes. In fact, never has Philippine Cinema been this impudent: masturbation scenes, full frontal erection, onscreen copulation and (hold your horses) even ejaculation (as the soldier, played by Amar, is implied to make love with a woodland ghost). 

The intertwining anecdotes mesmerize, thus even without much verbal grind, you are glued to your seat waiting for the next scene to disentangle. Teresa Barrozo’s music adequately creates an enigmatic atmosphere as well as help localize the story (a novelty-flavored music about Jesus plays straight out from a transistor radio). Sanchez’s “Jungle Love” is undoubtedly high art. It’s a skip away from the realist’s fare, but its artistic concept is unexpurgated and completely accomplished. The concluding part takes a bit of a detour though when, after the orphic scenes, Sanchez injects a dose of humor. You aren't quite sure if it’s meant as a mockery of how the audience should take this story (if you can call it that).

The film is produced by one of Davao’s favorite broadcast personalities (and politician) Mabel Acosta. Now who would have thought that Regional Cinema has come of age in Davao?

Renato Amar. The only photo I could find from the cast.

Alejandro "Bong" Ramos' My Amiga Girl - Comedic Cliches

When Margarita Avez Mercedes, (Daiana Menezes), crowned “Queen of Brazil” arrives in the Philippines, she falls victim to a conman who divests her of possessions and travel documents. Scared and alone, the Brazilian beauty queen finds solace in another deadbeat soul, transvestite Kimberly (Michelle O’Bombshell) who likewise falls victim to an illegal recruiter. The two become fast friends. But Kimberly refuses to go home to the province. What would his father, who sold most of the family’s assets, say? The two friends drift from one household to the next, doing odd jobs for a flurry of employers: as makeup artists at a funeral parlor; as massage therapists for a Chinese businessman (sans “spacol” – neologism for “jakol sa spa”); as carwash crew under a sex-starved boss Douglas (AJ Dee); as an “artista” auditionee who reluctantly ends up in a sleazy go-go bar, etc. Each encounter becomes a comedy of error.

Unfortunately for the beauty queen, she couldn’t turn to the police fearing she’d get thrown in jail when one of her spa customers succumbed to a heart attack. Meanwhile, Andrew, (Gerald Madrid), a police investigator, is aware of Margarita’s disappearance. He was supposed to pick her up from the airport but got sidetracked when he was summoned at his child’s school. Andrew’s mind is up in the cloud. His wife abandoned him because he kept a secret, i.e. he has an affair with another man (Ivan Chev Tabucal). With all these internal conflicts, finding Margarita becomes a burdensome mission.  

Kimberly eventually turns to his family in San Clemente who welcomes him back with open arms. Margarita experiences the warmth of Pinoy hospitality. Soon thereafter, she attracts the attention of the town’s besotted Mayor Lacanilao (Sherwin Ordonez) who, days later, proposes to the troubled expat. In fact, despite her polite rejection, she becomes target to an attempted kidnapping, as Lando (Rufert John Lirio), Kimberly’s brother, would unravel. What becomes of helpless Margarita?

Director Alejandro “Bong” Ramos (“Butas 1 and 2”) churns out a genre far removed from his usual sex dramas and exposes his blatant artistic weakness. In fact, the flick doesn’t brandish a flicker of brilliance, visual or narrative, indicated by his voyeuristic tales. What we do have is a narrative replete with comedic clichés: fart jokes, bad parodies of Nora Aunor films delivered by Menezes herself (Lines from “Himala” and “Flor Contemplacion Story”), GMA impersonations, slapstick accentuation of physical imperfections, etc. Moreover, the chronology of events refuse to reflect reality and the narrative thread is punctuated by head scratching situations designed to prolong the agony of the disserviced tourist. Any foreigner in a foreign land with half a brain would turn to her embassy for help. She doesn't. But she had to experience all the inanities of a variety of Philippine avocation, doesn't she?

Though I am tickled pink of Menezes’ impeccable command of Tagalog, this wasn't even explained why she was so good at it… except that “there are many tutors in Brazil”. They teach Tagalog in Brazil? Really? Como foi? Menezes is an ebullient actress, and she is easy on the eyes, but she has a long way to go as a thespian. While other Pinoy mestizos take ages to learn their Tagalog, Daiana can run rings around her conjugations. Unfortunately, it doesn't win her points where film quality is concerned. What a waste.    

Looking for Andrew.

Margarita and Kimberly

Sir Douglas (AJ Dee), the peeping boss.

Gerald Madrid as Andrew, the police investigator.

Suzette Ranillo as the over enthusiastic mother of Kimberly.

Bad GMA jokes, no?

AJ Dee: Hotter than his more popular brother.

Rufert John Lirio as brother Lando.

Ivan Chev Tabucal as Andrew's secret lover Steve.