Comedy Eugene-ius

Film review: Kimmy Dora

MANILA, Philippines - Spring Films is a new independent film production outfit, out to make its mark in the mainstream, seeking quality material that can still enjoy broad appeal. It’s first foray is Kimmy Dora, directed by Joyce Bernal, with screenplay by Chris Martinez, and bestowing comedienne Eugene Domingo her very first starring role. In fact, make that her very first TWO starring roles! — as she plays both Kimmy and Dora in this comedic tour-de-force. It’s an opportunity for Eugene that comes well-deserved; as for years now, she’s been playing second fiddle in various films, and scene-stealing with a regularity that belies the talent, timing and chutzpah she puts into each and every portrayal.

The story revolves around the lives of twin sisters, Kimmy and Dora. Daughters of a wealthy industrialist (played by Ariel Ureta), Kimmy is all business, running the conglomerate with her father. OC to the max, cold and heartless. Dora, on the other hand, is simple, naive, missing important meetings to take care of askals, and oblivious to the world of commerce and finance. When their father suffers a stroke, the future of the business, and how said father wants the sisters to be looked after should he pass away, becomes the bone of contention and conflict between the two sisters. Kimmy is helped by an ambitious, unscrupulous assistant (Baron Geisler), while Dora has Johnson (Dingdong Dantes as financial consultant, and the apple of Kimmy’s eyes even if he likes Dora) on her side. What ensues is a plotline of mistaken identities, a botched kidnapping, rediscovering family and oneself and reaffirming values and notions of home and sisterhood. It’s an intricate story that holds up to scrutiny, and there’s particular attention to detail that augurs well for the kind of production values Spring Films isn’t ready to compromise on.

The cameos (Vhong Navarro, Marvin Agustin, Christian Bautista, Rufa Mae Quinto and Eric, among others) come fast and furious, and they’re a delight to discover; but the core of the film is Eugene’s spot on transforming between Kimmy and Dora, and in a spectacular twist, Dora having to impersonate Kimmy (and vice versa). It’s here, as the dual portrayals mesh and dissolve, that Eugene’s special talent blindingly shines. I’d love to know who were her inspirations for Kimmy. It may be a caricature, but it’s wonderful and precise in its exaggerated treatment — the vile hatred for cockroaches, the imperious handling of her staff, the disdain for Dora, the simpleton, and her handling of the bucolic life.

Kudos to Piolo Pascual, Erickson Raymundo, Joyce Bernal and Shayne Sarte for seeing through their vision of putting up Spring Films, and coming up with such a delightful first project. The risk is taken, and it’s well justified. Eugene Domingo may not have been any mainstream producer’s first choice to carry a major film project; but if there’s any justice in this world, this Rated A film (by the Cinema Evaluation Board) will find its audience, and word of mouth will carry it to well-deserved success.