|Ikaw At Ang Gabi|
Ikaw At Ang Gabi, however fails to weave the fabric of connection between husbands and wives. Tom is shocked with the ephemeral nature of one night stands and Emily realizes the ease of infidelity. Inasmuch as the film juxtaposes them against their intimate thoughts, they could have played out the complexity of their roles in a more cinematic detail. Here they simply wait. Also, the film neglects to locate Beth Bautista's emotional dilemma, she is lost to the idea of a modern woman. It is admittedly a difficult role which requires intellectual understanding to successfully pull it off. Wearied by a traitorous screenplay, she finds herself furiously gesticulating stock emotion and is never able to mine the resources of a thinking and feeling character. Ronaldo Valdez has this same fault. He has the strained English accent perfect for the part but doesn't progress from being mere physical equipment. It proves that an actor cannot just be typecast, he should possess some intelligence in order to make the necessary comments. Valdez is unable to switch from a carefree philanderer to a man in need of some permanent relationship. Dindo Fernando is very much alive to the nuances of his character. He acts out a mixture of masculine power and industrial impotence. "I am what I am," he confesses to his wife near the film's end, wounded by her infidelity but still sentimentally attached to his marriage vows. Chanda Romero in a brief but effective role as Ronaldo Valdez' lover depends largely on her sensual presence to make an initial impression. Her insight pierces through the layers of socialite fantasies and pampered, struggle-less growth. Finally, Zialcita's direction greatly suffers from a kind of verbal storytelling that is bridged with maudlin music. It is disappointing to note that the best sequence in the film, a confrontation between the two women at the Ayala museum is diffused into a mutual understanding though a flare-up is anticipated. On the balance, the film is a well made chamber drama which packs no dramatic power, only feeble sentimentality wrung dry from middle class marriage-go-round. As a rehash of the motif embroidering Eddie Romero's Sinong Kapiling, Sinong Kasiping (1977) and Ishmael Bernal's Dalawang Pugad, Isang Ibon (1978), Danny Zialcita's Ikaw At Ang Gabi does not push the limits of the theme into new frontiers as the director is severely remiss in creating cinematic devices which would have scanned the erratic emotional climate weathered by married couples in search of a happy ending.
Screenplay And Direction: Danny L. Zialcita
Story By: Ed Palmos
Director Of Photography: Felizardo Bailen
Musical Director: Demet Velasquez
Film Editor: Ike Jarlego, Sr.
Produced By: Diosa Productions, Inc.
Release Date: December 14, 1979