On another level, there are so-called filmmakers who think they can direct movies. Some of them do, but they should never have been allowed into the arena of filmmaking in the first place.
Paolo Villaluna is an award-winning short filmmaker (he already has an Urian to prove it) venturing into mainstream cinema for the first time (for Digital Viva, sister company of Viva Films). But what a relief to discover that his work – Ilusyon – is not just a result of some grand illusion from his end that he can direct films. After watching Ilusyon during the Cinema Evaluation Board (CEB) screening last week, I am happy to say that Paolo Villaluna (who shares directorial credits with Ellen Ramos) knows the medium of cinema. Ilusyon, in fact, got an A rating from the CEB.
Set in 1958, Ilusyon is the story of a young man (played by Yul Servo) from the province who joins his painter father (Ronnie Lazaro) in Manila. When he gets to his father’s rented apartment in the city, however, he finds out that the old man – being of artist temperament – had sought refuge somewhere. In order to survive, the young man tries to find a job and ends up a house painter hired on a contractual basis.
One day, a professional model (Jaycee Parker) who poses in the nude for artists, goes to the apartment and mistakes the young man for his artist father. The young man is a painter, all right, but a house painter – not like his father, who is respected in art circles. For a while, he pretends to be his artist father – when in truth – he can’t even draw a straight line. Things become even more complicated when he falls in love with his model.
Although the premise of Ilusyon is very simple, it offers a lot in terms of visuals. Directors Villaluna and Ramos are able to transport viewers almost magically to the year 1958 in this film. Through their camera angles, lighting, music and production design (although a bit excessive in some parts and has the tendency to scream "1958! 1958!"), they succeed in creating the mood and atmosphere of the period.
For those who were already around in the late ‘50s, that should provide a bit of nostalgia for them, while those who were too young and had yet to be born that time should have an idea what it was like in 1958. Although I can honestly and truthfully say that I belong to the "yet to be born" category, I somehow felt that it was pretty accurate – if only for the fact that there is nothing that sticks out like a sore thumb in the production details. Even CEB member Eddie Romero, who was already an established film director around that period, has nothing to complain about the different areas of production in Ilusyon.
Actually, people who have seen this digital movie only have praises for the film (even if some feel that it could still be shortened a bit).
Also praise-worthy are the performances of the cast members – particularly Yul Servo, who is better here than in Batang Westside and even in Naglalayag. His best scene is the part where he pretends for the first time to be a painter and you see on his face and in his body movements the mixed emotions (and confusion) of wariness and tension of pretending to be another person and at the same time the thrill and excitement of seeing a naked woman’s body.
Secondary players Bella Flores, Jennifer Lee (as Ms. Flores’ niece), Ronnie Lazaro, Raul Morit (as a postman who serves in the film as a one-man Greek chorus) and Anita Linda (oh how so magnificent in her one scene at the end) provide great support to the two lead characters and are correctly guided by Villaluna and Ramos. I also have to give special mention to Bituin Escalante who is not only a great singer, but an effective actress as well –as she so ably proves here in Ilusyon where she plays Jaycee Parker’s landlady friend.
But the biggest revelation in the film is Jaycee Parker. A member of the sexy group Viva Hot Babes, she will surprise the movie-going public with her wonderful performance in Ilusyon. Actually, she doesn’t really act here, which is what’s so good about the whole thing. Somehow she just moves and the camera follows her – and how the camera loves her (think Marilyn Monroe). Given more important projects, Ms. Parker – with her lovely face and great talent – may become the biggest drama queen of her generation. Here in Ilusyon, she is what old Hollywood would call a "sensation."
Too bad, the public has to wait for a while to see her in Ilusyon because the film will be submitted by Viva to CineManila, which – if I’m not mistaken – had been rescheduled to January of 2006.
Meanwhile, let’s just all be happy over the fact that with Ilusyon, there still seems to be hope for the local film industry. And it’s not just an illusion of hope, but a reality – as proven by this excellently-crafted digital movie.