Dementia... Nora Aunor in silence

(The author is a graduate of UST and former teacher at Central Texas College, an English teacher at the Liceo de San Pablo and La Consolacion College Tanauan, and the founder of Philippine Axioloogists Association, was the Most Outstanding Professor for 12 years at PUP, Sto. Tomas, Batangas (STB), where he is the Youth Development and Educational Program officer of Kiwanis International STB, and  the founder of STB Mga Apo’ Ni Tomas, a civic society of a thousand young professionals.)

Talk about silent acting and the one unanimously decreed is that of Superstar Nora Aunor no less. Ate Guy, as she is fondly called, gives her characters depth and details not with the usual typecast signature moves and gaze and hysterics, not with a back and forth pace that chews up the scenery, or plays the gallery then lets all the rage go. She performs radically against type with an emotional filter. She keeps her emotions in check, casts her spell over whether puzzled, intimidated, entranced, captivated, unsettled, or provoked as she provides every scene communicating and seeing life through her eyes. 

In her third horror-film Dementia, Nora is a cautionary viewing experience without the messy encumbrances of a typical Filipino horror film acting. Carmela is her first self-produced horror film under N.V. Productions with the late Jay Ilagan in 1973, while her second is Magandang Gabi Sa Inyong Lahat with Tirso Cruz III, produced by Premiere Productions under the direction of Lupita Aquino-Concio in 1976.

Dementia may not be a killer in terms of goosebumps-inducing moment, scaring the wits out of the weak-hearted horror-movie buffs, yet it is a validation of the Filipinos’ world-class talent. That doesn’t sound extravagant if I say that in Dementia, rated A by Cinema Evaluation Board, one sees the master direction of first-timer Perci Intalan, the master storytelling of Jun Robles Lana, and the master acting of Aunor. The triumvirate’s handiwork is thrown everywhere — the spunk, the flair, the allure.

Intalan and Lana defy the generic cheap-scare character of independent producers’ horror orientation by Dementia’s simple twists and turns, yet in a tight cliffhanger linear narrative. The two manage to surprise and keep the viewers at the edge of their seats with the nightmares lurking at midnight or the creeps crawling in broad daylight. The violence or carnage in this movie is bloodless — you see the scissors stuck in the heart or the knife in the chest but not the goric delicacy of blood leaking and flowing. The production design and technical elements in Dementia are stylized. Under acting is impressive, given with confidence and subtlety among all the key and bit players led by thespic characterization of Jasmine Curtis and Chynna Ortaleza.

 At large, La Aunor steals the show with her amazing language of the eyes that spark even in the dark and her enduring presence in every frame and tame against the verdant backdrop of Batanes that made it such a hit with naturalists.

On the onset till the end, all you naturally see than usual is a generic senior woman afflicted with clinical dementia ­— one who continues to wallow in her fantasy, struggles with her own private demons, and senses the wheels spinning in her head. From the determined and furtive look, Nora fits snugly into the role of Nanay Mara and acquits herself creditably as the all-time best in the acting department with her remarkable sincerity and strong soulful performances.

In fact, yank the blindfold off and begin skimming through other actresses attempt to come up with the best silent moments then decide who made the final cut. You may dismiss this but it is not a hasty generalization if I tell you ­­— there is a manner in other players’ acting not quite settled, unimaginative, and unaffecting. The contrast in their “natural acting” all throughout the films puts any uncorrupted critic to synthesize them all with genuine savvy. You may be too busy sneering to notice them, but I tell you they are jaded and synthetic, not the way best silent moments speak.

Now, if we stop frothing at the mouth, and review wisely and fairly ­— the style, looks, interpretation, artistic insights, instincts if found lacking, can frustrate any actors bid for brilliance. With pun intended, the N-umber O-ne R-ated A actress Aunor, had rested this case ages ago.