As wholesome as Regine’s milk-and-cookies image

If there’s one thing Regine Velasquez should be thankful about, it is that – aside from being the most popular singer today – she’s also a box-office star who doesn’t have to romp naked on screen for her films to make money.

Her latest movie, Pangarap Ko Ang Ibigan Ka (an entry to the forthcoming Manila Film Festival) is still as wholesome as her milk and cookies image.

In this movie, Regine plays a curio shop/café owner looking for the right man to share her life with. For a while, she goes steady with Dingdong Dantes, but realizes eventually that his carefree ways are not for her.

Then she meets Christopher de Leon whom she first spots at the wake of his departed wife. (She was only passing by the chapel where Christopher’s wife was lying in state when she laid eyes on him.)

Eventually, they meet – in a cemetery of all places – and get to know each other. They hit it off immediately since Christopher is rigid and forever proper – a perfect foil to Regine’s kookiness. She is obviously in love with him – and so is he, except that he can’t seem to get over the death of his wife.

When Regine is all about ready to throw in the towel, he predictably realizes his mistake and runs after her and everyone’s happy in the end.

The movie’s synopsis – as you have read – doesn’t try to solve the problem of global terrorism. Neither does it analyze the origins of the much-dreaded SARS.

It’s a frothy love story and nothing else – and you just have to accept it as such. Well, at least, it doesn’t pretend to be anything other than that.

But as a light romance, it succeeds all the way given all the elements of a kilig love story: a fancy top-down car used by de Leon (a la Cary Grant), an escape to a cozy Tagaytay resort, etc. – everything love-struck couples dream of.

Other types of audiences would also appreciate the family values (again, this is always inculcated in all Regine Velasquez films) that are depicted (and it’s no hard-sell) in the film. I particularly like, for instance, the way Regine looks after her grandfather (played by Rudy Francisco – yes, the lolo of Gina and Karen in that McDonald’s commercial).

Even Regine’s relationship with her parents (Noel Trinidad and Marissa Delgado) should be emulated. In one sequence, for example, Regine has an argument with Noel. But even if she reasons out with her father (she is of age, after all), not once does she lose her respect for him. In fact, it is she who tries to appease him in the end. These little details are what would appeal to most viewers of Pangarap Ko Ang Ibigin Ka.

And whatever it may lack in substance, the film more than makes up for in form. Technically, this film is very competent. Its director, Louie Ignacio (who’s making his movie debut here) obviously poured all his extensive training on television (he directs S.O.P.) into this film.

Particularly noteworthy are the colors used in the film, which prove to be a feast for the eyes. The production design is highly commendable if only for the fact that it goes through such painstaking efforts to make the movie visually appealing – but still in a correct way.

The house used by Regine’s family in the movie, for instance, is old. But her bedroom is dressed up with a lot of accessories – and this is just right because, after all, she sells knickknacks in the story, doesn’t she?

Some of the lines are also crisp and funny and these are all engagingly delivered by a fine cast of supporting players: Dingdong Dantes, Noel, Marissa, Rudy Francisco, John Lapus, Gladys of Gladys and the Boxers, Lara Fabregas, and Shintaro Valdes.

Rosemarie Gil, as always, does well, except that it is a bit disconcerting to viewers who are all too familiar with her voice that she had been dubbed by someone else (I think it’s Lucy Quinto). The same thing also happened to Noel Trinidad in some parts of the movie.

Regine Velasquez’ performance, of course, is a crowd-pleaser. However, I was hoping that the director wouldn’t allow her to go overboard in some of her scenes that require her to be funny. (She was very good in her dramatic moments though.)

And sure, the film sticks to the tried and tested formula, but fortunately, it still works and would definitely be appreciated by Regine’s legions of fans. And I bet this is going to be another blockbuster hit – again without Regine disrobing for the part.

Oops, I think she did at one point when she had to bare her back (upper part only) as a preparatory to a love scene with Christopher.

But believe me when I tell you that Regine – even with a bare back – still comes out looking like Julie Andrews’ Maria von Trapp in The Sound of Music.