Horror is perhaps one of the most diverse genres in film. Since its rich beginnings during the German Expressionism movement, the genre has evolved into several subgenres but remains intact on its main point: to scare the living guts out of its audience. Master of horror Wes Craven once said that horror films “don’t create fear. They release it”. True to that statement is Chito S. Roño’s 1995 remake of Patayin Sa Sindak si Barbara.
Adapted from the 1974 classic directed by Celso Ad Castillo, Roño’s film revolves around Barbara (Lorna Tolentino), who goes back to the Philippines after her sister Ruth (Dawn Zulueta) dies. She finds out that things are not going well with Ruth’s family: Her estranged niece, Karen (a young Antoinette Taus, delivering an amazing performance), is having a hard time accepting her mother’s death. Ruth’s husband, Nick (Tonton Gutierrez), succumbs to alcoholism.
Strange things begin to happen, and after Barbara discovers that Ruth had killed herself out of jealousy, she learns of her sister’s long-harbored pain and hatred which are all intoned in Ruth’s furious promise of vengeance.
The bizarre love triangle between Barbara, Nick and Ruth is a classic gothic horror story, but Roño does not settle in this one trope. Instead, Barbara is unapologetic in delivering everything a horror movie can give, ultimately releasing fear in such a macabre and oftentimes over-the-top fashion. Horror fans are in for a treat while watching the entire picture unfolds, as this sense of familiarity proves more striking than annoying. From its glum cinematography to its unnervingly realistic production design, Roño celebrates the genre and its masters—from Hitchcock, Polanski, Craven, Argento, and H.P. Lovecraft, with respect and with prudence.
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Ricky Lee pens a screenplay that is a mixed bag of bold ideas and cliches. Though it is mostly paper thin and on-the-nose, the characters crafted by Lee are effective reflections of the collective dissatisfaction among upper-class Filipinos in the 90’s: Ruth, the no-holds-barred villainess, is plagued by depression and discontentment despite having everything; while Barbara gives up everything for her sister, sacrificing her own satisfaction for the sake of giving happiness to a loved one (a typical kind-hearted kapamilya).
Watching Patayin Sa Sindak si Barbara after more than a decade drives one to the realization of how the horror genre has evolved through the years. And while it is clearly a product of its time, it is a respectable local horror film of its own. It is a love letter to traditional horror films—a devil-may-care approach to the genre that you secretly miss while watching the recent ones.
https://www.youtube.com/watch?v=iC9-ORyOmUY
