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Beloy Montemayor Jr.: Tirador ng Cebu
English Translation of Subordinate Title: Executioner of Cebu
Year of Release: 1993
Director: Junn P. Cabreira
Screenwriters: Chito B. Tapawan & Junn P. Cabreira
From research conducted by Chito B. Tapawan & Junn P. Cabreira
Producer: OctoArts Films
Cast: Jeric Raval, Patrick dela Rosa, Monica Herrera, Janet Arnaiz, Tirso Cruz III, Charito Solis, Vic Vargas, Nikka Abaya, Edgar Mande, Roldan Aquino, Benedict Aquino, Pocholo Montes, Dexter Doria, Howard Zaleta, Lindsay Custodio, Jean Zaleta, Ernie Reyes, Liza Garcia, Robert Miller, Tony Bagyo, Bomber Moran, Ronnel Victor, Vic Belaro, Jim Rosales, Eddie Tuazon, Jing Castaneda, Rene Pascual, Pol Tantay, Telly Babasa, Romy Blanco, Danny Labra, Miko Manzon, Edward Salvador, Harris Mantezo, Johnny Ramirez, Julito Nunez, Emil Estrada, Bella Flores
Beloy, Roy for short, started his life of crime at 16, his best friend Andy always standing by him and his mother constantly admonishing him to avoid trouble. Toughies seek him out, however, to find whether he can fight as well as his late father. After getting roughed up, he embarks on a workout routine and succeeds in overcoming the guys who bully him, but he winds up in prison as a result. After further scoring against jailhouse thugs, he contrives an escape plan by cross-dressing and asking his girlfriend to help; the latter’s family refuses to accept a hooligan in their circle, so she elopes with Roy and travels with him and Andy to Manila. Lt. Delgado, a crooked police officer, recruits Roy and Andy for his kidnapping-for-ransom racket. When they realize that Delgado plans to kill off his latest victim once he gets the ransom money, they free her and incur Delgado’s ire.
A sure indicator of a genre’s supremacy is when a number of stars can flourish in secondary capacity—headliners of low-budget quickie projects, rather than of the rarer prestige productions. As the French nouvelle vague critics were careful to impart, more innovations could be found in this mode of practice, with the artists’ freedom from producers’ impositions providing opportunities for fortuitous approaches meant to compensate for industrial limitations. As one of the more successful second-string personages during the heyday of Pinoy aksyon, Jeric Raval unsurprisingly commanded his own share of avid fandom, commemorated in Keith Deligero’s Iskalawags (2013), a semi-autobiographical account of growing up in a rural milieu in the Visayas, where Raval himself makes a reflexive appearance as an embodiment of Manila-based stardom. Beloy Montemayor Jr. might serve as satisfactory representation of Raval’s dapper yet congenial projection, with a former softcore star, Patrick dela Rosa, serving as comic sidekick. The material, like Raval’s persona, dwells on certain characters and settings only long enough to draw useful impressions from them, then finds any available excuse to quickly move on. In this way, BMJ is able to cover far more personalities and locations than the typical action outing, and manages to overlay loose ends and unanswered questions (not to mention budgetary restrictions) via the frenzy of its core characters’ concerns and movements. Director Junn P. Cabreira immersed in a variety of genre specializations, all of them with the same cost-effective orientation, so BMJ can be regarded as a culmination of his accumulation of skills in purveying fast-paced and well-modulated amusements for anyone willing to surrender to genre enchantments.
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