Masaklaw ang abot-tanaw ng sine. Hindi lamang ito ang temang kinukulayan ng ideolohiya. Ang sine ay isang produksiyon ng karanasan at isang makulay na pagsaharaya ng tao sa sandali at lunan ng kasaysayan.
Achievements in film work is drawn not to forge a cannon of best works as underpinned by formalist considerations, but to pinpoint certain strategic transgressions and tactical countervailing in Third World cinematic practice and discourse.
Ang pelikula ay bisyong nagbibigay ng sensitibo at matalas na atensiyon sa presentasyon at representasyon upang sa proseso nito'y mabigyan ng bagong ayos ang mga posibilidad ng pelikula bilang isang progresibong sining at kulturang popular. Pinakikilos nito ang modo ng pagpapahayag ng pelikula sa reyalidad sa konteksto ng kakayahan nitong makipag-usap sa malawak na manonood at pukawin ang buhay ng publiko. Naaangkin ang institusyon at praktika ng sine para itaguyod ang kapangyarihan ng midyum at ang sulong na interes.
Slum life has never been so degrading and dangerous. In Anak Ng Cabron (Urban Films), Ace Vergel plays Donato Rios, a young emperor of crime in a God-forsaken squatter zone, a prototype of the lumpen mind. His values and manner is the curse of every civilized, right-thinking man. Decent society has no room for scum like him. The only person Donato looks up to is his equally wayward and irresponsible father Mike (Charlie Davao) who is both a gun for hire and boss man for a school of pickpockets. Both father and son worship only money and power but they are unable to expand their empire beyond the confines of the slums. The only method they know is terror tactics. Mike and Donato also have very little respect for women. Donato's most unpardonable acts are not his murderous ways but the way he treats women. To his mother Ester (Perla Bautista), he's rude and insensitive. To Wilsa (Vivian Foz), an attractive medical intern, he's even worse. He kidnaps and rapes her virtually at gunpoint, then continues to molest her, once even spattering her head and face with mud. Donato is a stranger to tenderness and feeling. His vileness is unrelieved.
As played by Ace Vergel, Donato projects a boyish mien that masks his true nature. What evil lurks behind such a gentle face. A woman may probably have a spot for him, initially, but all this vanishes once it is clear to her how this near-psychotic gets things done. Perla Baustista as his distraught mother also offers a solid performance. Even Vivian Foz who is the embodiment of an educated and respectable young woman does nicely too. It isn't often that action thrillers offer good performances and Anak Ng Cabron is a surprisingly rare exception. Charlie Davao is adequate as the father. Johnny Wilson as Rafael Cuevas, a crusading radio commentator is also noteworthy, he isn't a stereotype martyr or an ideal father. Anak Ng Cabron is not without flaws, however. Rafael's on-the-air snipes against crooked police officials are not properly woven into the story's main thread, like a subplot moving independently. Then his son's character Eric (Mark Gil) is not sufficiently developed, as though he's there to merely represent the middle-class kid with the lumpen streak. In the closing scene, moreover, it is not likely that the young intern would be so sympathetic to the fallen kingpin, except maybe for melodramatic effect. But even that is not entirely gratuitous. There are references to the Great Divide between the rich and the poor. In one moment, in fact, Donato inarticulate as he is, expresses his deep resentment and utter lack of respect for the exploitative leisure class, yet such excursions to verbalize social messages sound superfluous in the light of the movie's unstinting depiction of the ugliness of the lowlife and the evil that men do.
Directed By: Willy Milan
Screenplay By: Conrad Galang
Cinematography: Ricardo Hererra
Music By: Nonoy Tan
Film Editor: Ruben S. Natividad
Production Designer: Domingo Donato
Produced By: Urban Films Release Date: February 17, 1988