On the other hand, the film also signaled the emergence of a reliable competitor to the young-star iconography of Sharon Cuneta. Soriano may not have the same Right-wing political wealth and back-up source but possesses the additional advantage of prettiness and sincerity. The terrible reality of this kind of image building exercise is that it doesn't matter to what end these young women have opted to devote what little talent they happen to possess, they could probably get away with taking its development for granted as Cuneta managed to do. The ideal entertainment ethic would be for us to relegate those strays to their proper positioning according to their potential contribution to Philippine culture. So in the meantime, that producers and audiences try to upgrade, consciously or otherwise their capacity for intelligence and independence, we remain at the mercy of the dictates of those who couldn't really care less about the quality of our creature comforts. In Galawgaw, we see this principle played out in the manner by which a leading man in a comedy gets handled like a leading man instead of a comedian. Nothing funny that Truman (William Martinez) does is of is own volition, unless it is to emphasize his already obvious pictorial superiority over most young actors. In the end this kind of approach becomes predictable, we get to know when the laughs are coming, indicated as they are by Soriano's presence and when we're only supposed to smile, which is when Martinez is around. And when funny bone responses are determined by factors beyond the work's inner mechanism, then the responses aren't really much fun in the end.
Directed By: Ishmael Bernal
Screenplay: Jose Carreon And Ishmael Bernal
Director Of Photography: Sergio Lobo
Music: Vanishing Tribe
Film Editor: Augusto Salvador
Production Design: Raquel Villavicencio
Produced By: Regal Films, Inc.
Release Date: March 12, 1982