Eye-popping revelations from newcomers

Ishmael Bernal had an impressive first film in Pagdating sa Dulo – and so did Mike de Leon in Itim, Maryo de los Reyes in High School Circa ’65, Laurice Guillen in Kasal? And Carlos Siguion Reyna in Misis Mo, Misis Ko. But not Marilou Diaz-Abaya who found herself wrestling with bad material in Tanikala – and certainly not Lino Brocka, whose Wanted: Perfect Mother was embarrassingly mushy.

Among the more recent batch of directors, it is only Jeffrey Jeturian who had an auspicious film debut – Sana Pag-ibig Na, the last important movie of Nida Blanca.

Currently being judged is the first work of Quark Henares, Gamitan, which is now raking it in at the box office.

Produced by Viva Films, Gamitan is about a campus plain Jane (Maui Taylor) who becomes the object of a cruel bet among a group of college boys led by the school heartthrob, Wendell Ramos. Crushed by the way she is treated by Wendell (who beds her and dumps her the night after, she turns nasty and uses a nerdy admirer (Jordan Herrera) to get back at the campus Lothario. In the end, she herself becomes the victim of her own wicked manipulations.

A film director’s debut is always an event in the film industry. In the case of Quark Henares’ Gamitan, its release in local theaters becomes doubly significant because it is also an artistic success.

Gamitan is the result of a brilliant mind. Only 21, Henares is obviously bright, and – more importantly – is adept at cinema language. He knows his camerawork how to cut his scenes, has clever ideas on what music to put in and he can motivate his actors to draw out the finest in them.

My only quarrel with the film Gamitan (which has shades of Cruel Intentions) concerns the character of Maui Taylor, who – from that of an innocent vestal virgin – is transformed into a manipulative vamp at the wave of a wand. Although her experience with Wendell was truly painful, I thought it was too much for her to completely swing into the other end and turn into a vindictive Medusa minus the snakes.

Aside from this one flaw in characterization, I have to say that Gamitan is an impressive film. Its narrative is smooth and even innovative. Quark Henares clearly has a lot of great cinematic ideas and he assembles all these in this wonderfully orchestrated film.

And this early, I dare say that Quark Henares is an actor’s director – the way Lino Brocka was to his protégés. In Gamitan, Henares succeeds in molding his very young cast members into fine performers.

In the case of Wendell Ramos, it’s no longer surprising that he delivers a convincing performance as the campus hearthbreaker here in Gamitan. Wendell, after all, has already proved his worth in Hubog in last December’s Metro Manila Film Festival. (Wendell may already be counted among the very competent young actors in the local film industry today).

Jordan Herrera is a revelation here in Gamitan, however. Although it’s not really a great acting job that he delivers here, it’s noteworthy enough – especially if you consider that his only other acting experience prior to this movie is showing his armpit in that underarm commercial.

But the one acting find I must say is Maui Taylor. For a newcomer, she is quite a gem. And here in Gamitan, she sparkles beautifully as she goes through her difficult, complicated and multi-layered role like a veteran who has been around since the advent of local cinema.

Of course, the one who deserves the highest tribute is Quark Henares. Unlike most of our new breed of directors who cannot even tell a narrative properly, Henares knows the film medium like the back of his hand. And unlike one new director we have today who falls hopelessly in love with his shots and prolongs it to the point of boredom, Henares’ directorial style is absolutely no-nonsense. His touch is young but intelligent. Our new batch of directors may yet learn a thing or two from this first-timer, who – this early in his career – is already close to mastering the difficult and complicated medium of film.

Humor turned sour

Still showing in Metro Manila theaters is The Sweetest Thing, a comedy about three women – Cameron Diaz, Christina Applogate and Selma Blair – who find love (and some sex) in various places and situations.

The Sweetest Thing could have been a sweet comedy – what with Cameron Diaz, shedding all inhibitions in this film. Unfortunately, it chooses to recycle jokes from another Cameron Diaz film. There’s Something About Mary. Told a second time, the humor of The Sweetest Thing has sadly turned sour like vinegar. Even the supposedly new comic situations have a bitter alternate to them.

The Sweetest Thing is actually a female version of the Farrelly brothers’ brand of vulgar comedy. Now, I don’t know how feminists would take this, but based on what we see The Sweetest Thing, it seems like women still can’t outdo men in the grossness department.