Insiang

Forget the rest! Hilda Koronel's magnificent performance as the title character is enough to recommend this tale of rape and revenge, seduction and squalor, power and poverty. Hilda lives in a slum in Manila, maltreated by her domineering mother (Mona Lisa). Her mother has a lover (Ruel Vernal) old enough to be her son. Vernal, doing the lover bit because Lisa holds the household money, has his eyes set on Insiang. He rapes her but Insiang turns things around, getting Vernal to be her parasitic paramour. Great film noir, great performances.

A strong, well written story, perfect casting and performances, clever staging and pacing make for a powerful love story, set in the slums of Manila. Insiang (Hilda Koronel) is tormented by an embittered mother (Mona Lisa), barely able to contain her anger at the husband who abandoned her for another woman and left behind their daughter to abuse and belittle. Tensions explode when Mom takes in a much younger lover (Ruel Vernal), who bides his time, ogling Insiang. Her boyfriends (Rez Cortez and Marlon Ramirez) are too young, too weak and too poor to do much for her, but the person who loves her most is eventually revealed.

The movie starts with a barbaric scene at a slaughterhouse. Workers gut live hogs that are hung upside down from their hoofs, squealing. My gawd the squealing. Blood everywhere. Hogs getting skinned, boiled, run through grinders. I practically became a vegetarian right then and there.

Then the opening credits roll. And what unfolds for 90 minutes, give or take, is a movie where humans who are metaphorically hanging by their hooves in grinding poverty yell, fight, spill blood and act unimaginably cruel to one another.

Insiang is the beautiful daughter of a miserable middle-aged woman whose husband ran off. Town stud Dado moves in with the old lady but he's got eyes for Insiang just like every other boy in town. The boys are all lazy, gambling alcoholics with zero prospects. Dado is hardly any better.

Eventually Dado r3pes Insiang, who runs to one of the boyfriends to be consoled. He takes advantage of her vulnerability by taking her to a seedy motel and penetrating her.

Insiang has hit rock bottom. What follows is a tale of revenge that Shakespeare's audiences would have loved.

I got a little restless in the second act waiting for them to move the plot along. I was getting a little worn out by the harpy mom. But the third act is so much depressing fun that you forget about the flabby middle.

The uncompromising final scene fits perfectly. This is definitely not Manilawood.

Lino Brocka's 1976 melodrama of slum family love double-crosses was the first Filipino film to be shown at Cannes and is being revived at festivals. It deserves to be seen for the female actors, mother Tonia (Mona Lisa, credible as an aging lady who's still highly sexed and attractive) and gorgeous daughter Insiang (pronounced "Inshang"). Hilda Koronel, who plays Insiang, is enough like a Loren or a Lollobrigida to make you think of Fifties or Sixties Italian cinema and the visual style is conventionally of an early period, but this brutal story lacks the humanity and warmth of the Italians. Tonia drives a family of in-laws out of her shack (which is in with other families; in this barrio there is no privacy and all is known) because she can't feed them, but her ulterior motive is to bring in Dado, a handsome, macho man and a gambling no-good probably young enough to be her son, as her lover. Insiang has several young men interested in her, but the one she chooses is too cowardly and lazy to run away with her as she would like. Soon Dado puts the make on Insiang. It turns out badly for just about everyone in this miserablist drama, which has been compared to Fassbinder and Sirk. It's been commented that the story undercuts the two major values in Filipino film – motherhood and the sanctity of the family. Brocka certainly keeps things lively, as do popular dramatic films from other Third World countries, and telenovelas. Yes, this holds the attention; but unfortunately the print used for the NYFF 2006 showing was an ugly-looking digital transfer that made all the boys look pimply and the shots look shoddy. Only Koronel's face shines through.

A young girl named Insiang lives in the Philippines in dire poverty with her mother who treats her like dirt. Then her mother invites her lover Dado to live with them...but Dado only has eyes for Insiang.

Interesting and well-acted but VERY depressing. With the sole exception of the title character there's not one likable character in the entire film and the conditions that the characters live in is shocking. It is historically important as the first Filipino film to play at the Cannes Film Festival back in 1978 but it's so bleak.