Princess Kinoc reviews ‘Mallari’, a fictional account of the first documented Filipino serial killer of the same name. The film is part of this year’s MMFF 2023.
The first documented Filipino serial killer is a priest.
If that sentence has not brought a weight of thought in your mind today, then I don’t know what will. The fact that Fr. Juan Severino Mallari of Magalang, Pampanga and his confessed killings of over 57 people predates that of Jack the Ripper and his reasons behind his killings is an even more chilling thought. To see this come to life to film is probably not an easy task to do.
While Mallari has the appealing advantage of being the only film in the line-up to be distributed by Warner Bros. Philippines, it surprisingly does not rely heavily on VFX to scare you. The special effects on this one is superb, but it’s the astonishingly brilliant performance from Piolo Pascual would, along with the rest of the actors in the ensemble piece.
The premise is relatively straightforward, centering on the Mallari’s direct descendants in three periods. There’s present-day Dr. Jonathan Mallari de Dios, whose life seems perfect alongside his fiancé Agnes (Janella Salvador). When she suddenly succumbs to a mysterious illness, he recalls a memory in which one of his ancestors survive a mysterious illness too, but the memory is not as lucid as history writes it, so he sets off to his ancestors’ hometown of Magalang in search of a cure. Many would argue that this plot device has been used before, but I’d rather have this than a straightforward adaptation of the priest’s killings. Afterall, wouldn’t you be curious on why he did it? What made a righteous man kill? And even though we have this Esquire article to help paint a picture, this partly fictional adaptation wins greatly for one’s imagination.
And so, we are transposed back to 1812 and the film opens with a shocking murder. Its assailant, despite us knowing who he is, is gauntly dressed in his robes and a conniving smirk as the shadows cover his face. The kind of opening could probably put shocker films like Evil Dead (1981) and Texas Chainsaw Massacre (1974) to shame. It’s so macabre you wouldn’t even know that it has successfully reeled you in for the ride. On the modern-day Mallari’s journey back to Pampanga, he reverts to memories he could not even remember he had of the house, and some visions that may or may not be there at all. He is accompanied by an old family friend, non-ordained priest Lucas (JC Santos) on his journey, who somehow proves to be an essential part of the story towards the end. Another supporting character who proves to be important is Pascual himself as the second Mallari arrives in between scenes.
Despite trying to alleviate itself from the many jump scares required, Mallari does not lack of it. There are jump scenes mechanically inserted from one scene to another. I joke that it’s taking advantage of the dim resolution that most Philippine theaters might have, but nonetheless I find these part of it, merely small instruments for what Enrico Santos’s writing and Derick Cabrido’s research have in store for us.
Piolo Pascual as the three Mallari is a standout performance. He is understandably one of the country’s finest actors, but in this film, he adapts to all three incantations with a certain preciseness that he elevates his craft to a whole new level. There is a particular scene in which he effectively uses his body double, while doing a fourth one that can only be deemed as Mallari’s fictional true motives. It’s a grappling performance that’s hard to beat for sure. His performances in films like Lagarista (2000) and Dekada ’70 are best in my book, but his performance here as a conflicted man while attempting to correct the ways of the past is superb. I have no words but praise for him here.
JC Santos’ supporting performance is something you must look forward to as well. How he can mingle in the background and return to becoming one of the film’s most important characters is something you shouldn’t miss. Janella Salvador’s performance as the beguiling sub-heroine in the film offers some tender moments that match that of the version of Mallari she gets, and towards the end they too prove that their matchmaking is beneficial. A standout feature of Mallari is its ability to seamlessly blend historical facts with elements of folklore, creating a uniquely Filipino horror experience. Conching’s eerie smile, for instance, becomes a memorable element that sets the tone for many remarkable and horrific scenes in the film.
Mallari stands as a groundbreaking addition to the Philippine horror genre, skillfully weaving a chilling tale that transcends time and delves into the depths of human nature. Director Derick Cabrido, building on his prior work in Clarita, showcases a remarkable improvement in his foray into horror, steering away from the conventional reliance on visual effects and opting instead for a narrative anchored in stellar performances. This shows that Filipino horror can succeed well while incorporating historical fact and folklore when its filmmakers know well that the true horror lies in the human condition. And just like that pivotal scene that can also be seen in the trailer, “‘diba, isang sumpa ang mag-mahal?” (Isn’t loving a curse?)
Mallari is one of the ten films featured in this year’s Metro Manila Film Festival. Showing in cinemas this December 25 nationwide.
