Last Wednesday, World Arts Cinema’s Shhhh... She Walks by Night had a P2.8 million opening day gross, according to press releases. The film’s success at the box office puts its lead star, Belinda Bright, in the gallery of our top sex stars today along side Rica Peralejo, Aubrey Miles, Diana Zubiri, Maui Taylor, Katya Santos and Andrea del Rosario.
The story of She Walks By Night takes place in an old and large ancestral home owned by the eccentric Ricky Davao. With no known relative or family member to inherit his house and other properties (basically a large collection of vintage cars), he has his son (Jay Manalo) by a former live-in partner (Pinky Amador) brought to him and stay with him in his huge home. Soon, he also brings home a runaway girt (Belinda Bright) who claims to have escaped from her parents because they are forcing her to marry a man she doesn’t love. It’s just too bad that Jay Manalo and Belinda Bright do not get along. Add to that the tension brought about by the eccentricity of Ricky Davao and the manipulative ways of Marissa Delgado, his girl Friday. In the end, Jay proves himself right because it is revealed in the film how Belinda gets to Ricky’s house and to his pants.
Actually, the basic framework of She Walks By Night is something that can go take a hike. The story is as old as its old house setting. Fortunately, Elwood Perez is weaves his old magic touch into the otherwise moldy material. And aided greatly by the film’s fine technical elements like cinematography (the lighting is wonderful), music, editing, sound and production design, Elwood manages to turn She Walks By Night into a suspenseful mystery film.
The performances of the cast members also contribute greatly to make the rusty material more tolerable for the viewers. Ricky Davao, for instance, still comes out in one piece in spite of the over-the-hill story. This is a true testimony to his greatness as an actor. He is the only local actor I know who plays an eccentric character who is not annoying on the big screen.
The performances of Jay Manalo, Marissa Delgado, Dido de la Paz (as Ricky Davao’s lawyer), Ynez Veneracion (as Jay’s girlfriend), Bianca Lapus (as the servant) and, yes, even the newcomer Belinda Bright (she looks like an impish Maricel Laxa in some shots) also brighten up what could have been a really dull and boring film – what with a story that should have been retired long before the outbreak of the Pacific War.
Elwood Perez is actually more successful with Lupe, which was released by Viva Films the other week. (This film is obviously making money because it is still showing in all major theater outlets.)
Lupe stars Andrea del Rosario who marries Leandro Muñoz, a seaman still tied to the apron strings of his mother, Marissa Delgado. Although there is no doubt that Andrea loves Leandro, she still becomes lonely when he takes on another assignment overseas and, later, allows herself to be seduced by her husband’s best friend, Jordan Herrera.
The basic plot of Lupe is really as antiquated as that of She Walks By Night, except that the screenwriter Jigz Recto adds a relevant twist by injecting this angle about AIDS. Of course, any story about AIDS is depressing, but the viewer still appreciates the inclusion of this current social issue into the material of the film because it reminds overseas workers (and their respective spouses) and just anyone with an overactive libido to take precautionary measures before setting out into the arena of sex.
Elwood Perez also turns Lupe into a viewable film – another movie that is saddled with unimaginative and overused material – because of his fine directorial touches. (For those without cinematic concerns and are just out to see nudity on the big screen, this film is still for you if only for this one scene where Andrea del Rosario has a nude frontal shot multiplied several times with the use of mirrors.)
And just like She Walks By Night, the technical elements of Lupe are way above average. The film’s settings – an old Ilocos town and an unfinished house almost jutting out into the sea – are a feast for the eyes and, in fact, compete for attention with the nude scenes of which there are plenty in this movie.
Elwood is also successful at bringing out the best in his cast members: Leandro Muñoz, Jordan Herrera, Lara Fabregas, Richard Quan, Connie Lauigan-Chua and especially Marissa Delgado as the sex-hungry and meddling mother of Muñoz. Andrea del Rosario, from her end, perhaps may be developed for pure dramatic ventures after her stint with sex films because she registers well on screen and seems to have what it takes to become a fine actress – at least based on her performance in Lupe. It’s a very difficult role to do – especially for a newcomer, but save for a few awkward moments on screen, she basically does quite well in the film.
As for Elwood Perez, I’m just so happy that he is back with two films that are doing very well in the box office. Or should I say, I’m just happy that he is back in the movie scene and directing films once more – period? After all, he is still one of the finest directors we have in local cinema. (His best work for me is still the Nora Aunor-Tirso Cruz movie, Bilangin ang mga Bituin sa Langit.)
But the next time around, I wish he’d come up with more imaginative and new materials to match his directorial talent.