JM Alexander People's Tonight, 1996

Local cinema is in the midst of its third golden age as amply proven by this Fermina del Rosario production. No other film in the last 15 years since Bernal's "Himala" approaches the splendid mastery of Lamangan's opus. He avoids the contrivance of shallow melodrama and approximates real life in this devastatingly effective use of flashback to illuminate the inner conflicts of a restless and unresolved past.

Also, he skillfully wove the disparate narrative development of his characters' stories and fused them into a logical whole that keeps the viewer on the edge until to the very end. Lamangan not only filled the vacuum left by the demise of Brocka and Bernal as well as the inactivity of de Leon, Guillen and Kashiwahara, he has begun to surpass them.

Although Iglesia's screenplay is fictional, it reflects a reality that remains politically sensitive to this day, as confirmed by the FRB's evasion from acknowledging the obvious merits of this masterpeice. The film dared to depict the aftermath of an ideological war which the state waged against its citizenry. Both Helen and General Valderrama lost their humanity. The former became lost in the labyrinth of a psychosis borne of an obsession with vengeance. The latter let blind zeal justify oppression and murder.

Cinematogrpaher Vitug has outdone himself in heightening dramatic tension and mystery that marks every twist of this film.

Though less obvious, production designer Morfe, through his choice of the Valderrama ancestral house adorned with animal heads, reveals and complements General Valderrama's darker side.

Aunor's international stature as the greatest Filipino actor ever, will be further butressed by her mesmerizing performance as Helen. The late director Lamberto Avellana once called her the epitome of a film actress. In a body of work hallmarked by excellence, she accomplished once again the near imposible feat of outdoing her best. No doubt, she has nothing to prove because she is peerless. Utilizing nuances of facial expressions and a minimum of gestures, she succeeds in drawing the viewer into the unpredictable quagmire of contradictory emotions that buffet her hunger for revenge, and in the process she makes this film distinctly her own.

Garcia gives the best performance of his career through his frighteningly brilliant portrayal of the ruthless Valderrama while Zulueta's subdued performance as the adoring daughter who stumbles upon her father's terrible secret spotlights the essential humanity of her character.

Ventura is memorable as he struggles with his remorse and anger as he recounts his mission with Valderrama. Most of the supporting ensemble matched the skills of the principal players.

Congratulations to everyone involved in this near perfect production. The rare joy of this film is like finding a diamond in a coal mine. For once, ****** (Great).