Too many subplots, frantic antics weaken Vhong’s comedic comeback bid

NAVARRO. Opts for a more natural, believable approach.

Before Vhong Navarro’s new starrer, “D’ Possessed,” opened in theaters, some show biz observers advanced the view that the production would serve as a “litmus test” of how the viewing public felt about its lead player, who has been involved in controversy and scandal of late.

If the film did well at the tills, they speculated, it would mean that the public had “forgiven” Vhong for any real or imagined infractions. Has this, in fact, been the case?

Well, if producers’ reported grosses are to be believed (P17 million on opening day), the comedy-chiller is a success, so Vhong can take heart and breathe two big sighs of relief.

Evaluated strictly as a film, however, the comedy flick is detailed and well-produced, but it fails to hold together as a whole.

—Not from lack of trying, mind you, since Joyce Bernal’s movie is effective and entertaining on some levels—but, its generally shrill, livid and in-your-face comedic tone occasionally makes viewers feel that they are being bludgeoned into submission, instead of warmheartedly entertained.

Many supporting comics are conscripted to hype up the movie’s laugh quotient with their desperately zany antics, and all those insistent performances put together can be overwhelming.

To his credit, Vhong opts for a more natural, believable approach as he portrays the film’s protagonist, a basket case of fears and terrors since childhood, ever since his father was believed to have passed away.

Job prospects

Reality finally deals him a hard knock on his thick noggin when their house is about to be seized by creditors if his family can’t pay its debts. Since job prospects are lean for obvious basket cases like him, he is forced to—sell his blood!

The desperate ploy does bring in a couple of thousand pesos, but what will the now bloodless shell of a man do tomorrow? He opts to find work as one of the many gardeners hired by female lead Solenn Heussaff’s character for a big edifice she’s building for her adoptive father, an obviously dubious “businessman” portrayed by Joey Marquez.

He’s taken care of her ever since her beloved dad dies under mysterious circumstances, so she’s grateful to him—but, viewers know that Marquez is up to no good. Proof positive comes soon enough, when ghosts at the building site inform Vhong that they’re out to avenge themselves on Marquez, who had them killed years ago.

This is when the movie’s house of cards tumbles down, as too many different subplots and frantic antics  fail to come together in a focused and thus genuinely funny way.

On point of performances, Vhong is able to score some comic points, but Solenn, despite her trim, pert “packaging,” is generally a merely decorative costar.

Granted, her character, as conceptualized, doesn’t give her much to pin a textured performance on, but stellar duties require a lead player to come up with a strong portrayal, come what may. —That’s why it’s called “star value,” after all . . .