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A review and pictures of actress Irma Alegre naked in "Hayop sa sarap".
Slim and sultry starlet who briefly shone in sexy Philippines flicks through the mid 'eighties.
Duelo Sa Puting Buhangin (Philippines)
Naiibang hayop (Artemio Marquez, Philippines, 1983) (as Stella)
Lukaret (Artemio Marquez, Philippines, 1983)
# Hayop sa sarap (Artemio Marquez, Philippines, 1984) ✭ ✭ ✭ ✭ ✭
with Angela Perez, Alona Alegre, Al Tantay, Edgar Mande and Johnny Wilson
Fantastically overheated melodrama in which Irma plays the slimmer and generally more finely chiselled elder sister of hefty and homely Angela Perez. Though barbs about weight problems aside (and it's only a teensy little problem, just puppy fat really) I'll pick the sensible one every time. Look how Angela sorts it out with Father about the girls doing their exotic dance routine again for instance.
You might be wondering why Father is moping about the house in his pyjamas, and in a wheelchair to boot. Well, he keeled over with a stroke while trying to gun down Mother for adultery (she deserved it the ghastly see-oh-double-u). So Dad's a bit of an all-round duffer, but his daughters still love him all the same. The exotic dancing goes down rather well by the way, considering it was for a bunch of crumblies at the village hall rather than a bar full of drunken sailors in Manila. You sort of expect these sort of people to be angry. I reckon the costumes made all the difference: woolly tops and socks in sailor blue stripes plus see-thru knicks. Lovely.
Sadly the dancing sideline isn't paying all the bills so the logical next step for the sisters is prostitution. They present themselves at the hotel suite of some gangster type clothed and groomed like some horrific hangover from the 'seventies. Irma has the honour of being first to gingerly step out of her flimsy white knickers and into the clutches of the beast, poor Angela meanwhile sobbing in the wings.
When they get home the sisters find Father has impaled himself on a bayonet in no uncertain fashion. Yet more tears then, and further complications in their lifestyle. Mother, having survived the shooting without ill effect (whatever-does-not-kill-me-makes-me-stronger etc. alas), is now romancing Irma's new boyfriend's father. This girl knows whose side she's on so clearly this has to stop.
Irma lures her solidly built but none-too-bright future father-in-law to a hotel room and accosts him while drawing seductively on a cigarette. After much finger-pointing and heated conversational to-and-fro (mostly omitted here) Irma finally gets down to business. She peels off her top, then defiantly tugs down her knickers too. It takes a fine actor to respond to something like this, and our man is well up to the task. A horde of conflicting emotions flash across his face for longer than it takes for the winning line to come up on a fruit machine. Look out for the not-in-front-of-the-television-set-I-was-going-to-watch-Match-of-the-Day.
Shake, Rattle \u0026 Roll (Ishmael Bernal, Philippines, 1984) (as Anita)
Makakating hayop (Artemio Marquez, Philippines, 1984)
Bagets (Maryo J. de los Reyes, Philippines, 1984) (as Chertit)
Mga babaeng rehas (Ron Gallardo Pablo, Philippines, 1985)
Sanay (Artemio Marquez, Philippines, 1985) (as Venusa)
Company of Women (Mel Chionglo, Philippines, 1985) (as Isabel)
Room 69 (Artemio Marquez, Philippines, 1985)
Rustico Acuzar: Waray (Tony Y. Reyes, Philippines, 1985) (as Milagros Fernandez)
Behind Enemy Lines (Gideon Amir, USA, 1986) (as Bar Girl)
Diligin ng suka ang uhaw na lumpia (Artemio Marquez, Philippines, 1987)
Takot ako, eh! (Mario O'Hara, Philippines, 1987)
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