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What happens when a tabloid headline about incest is visually translated onto the wide screen?
Jeffrey Jeturian's Tuhog tells how the story of Perla (Irma Adlawan) and her daughter Floring (Ina Raymundo), both raped by Perla's father, grabs the headline of a tabloid and
is made into a sex-film. Starring in the film entitled Hayok sa Laman are Jaclyn Jose as the mother "Violeta", Klaudia Koronel as the daughter "Jasmin," and Dante Rivero as
the father "Amang.
"Kapag katotohanan ang ibinenta, kasama pati kaluluwa." Tuhog's tagline captures director
Jeturian's masterful handling in showing the ills of Philippine cinema. The actual story is interspersed with the film and the spectators' reactions to their story being told
in a brilliant way that leaves the viewers interest glued to the unfolding events. Cinematography is very good, particularly the refreshing scenes of the countryside, unusual
angling, and the use of crane and earth shots. The lead cast's performance is superb, especially Jaclyn Jose, Dante Rivero,newcomer Irma Adlawan and Ina Raymundo, who essays
her role in an understated but convincing way. Jeturian parodies the cinema and the school with tongue-in-cheek humor.
Tuhog attempts to mirror the evil of incest and the way the Philippine movie industry exploits
the anguish of the victims using money in exchange for their tragic experience. The true-to-life story is distorted in order to make it more commercial upon the dictates of
the producer to make it "bold na bold." Despite the assurance of showing a "socially relevant film that will mirror society and not just walang kawawaang paghuhubad na walang
moral lesson," the "real" protagonists find the director's promise an empty one.
Alcohol and sexual abuse (rape, incest) are shown in their horrid ugliness but one wonders. Is
Tuhog really Jeturian's way of critiquing the movie industry? Does he not fall into the trap himself in using a material so despicable instead of using his craft for something
which can spell an improvement in Philippine cinema?
CINEMA rates this film for mature viewers 18 and above.
(Date Reviewed: February 23, 2001)
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