SARI-SARING SINENG PINOY

Leroy Leroy Sinta

A homosexual in Philippine cinema is overly sensitive, loud, confused and exaggeratedly feminine. More often, a homosexual character preferably in drag is a filmic device meant to draw laughter from spectators. In Leroy Leroy Sinta (Seiko Films, Inc.) Leroy / Liwayway 's (Roderick Paulate) issue of homosexuality triggers the film's plot and subplot. Consequently, the warped resolution of Leroy's homosexuality guarantees safe narrative closure in consonance with masculine-sexist standards. Homosexuals are reduced to the marginal. Stereotypes of their image, professions included are reproduced to ensure marginality. This is where masculinity derives its privileging status. Homosexuals are pseudo female, dressed in feminine fashion, wanting sex change. The constant bombardment of this image contains homosexuality to the peripheral with masculinity as center. Boys will be reared as male heterosexuals, to choose otherwise is to invite ostracism. Leroy as a character provides two gender qualities in one person. Leroy on the masculine side tries to win his grandfather Don Agaton's (Ike Lozada) affection by acting all too macho. Liwayway on the feminine side is the all too good daughter to her adoptive mother Diding (Nova Villa) and younger brother Toto (Romnick Sarmenta). However, unlike gay readings of Superman and Batman where sexual dichotomies of superheroes and normal characters are obvious, Leroy assimilates both masculine and feminine qualities.

The narrative catapults Liwayway's feminine side and obscures Leroy. Liwayway becomes Leroy in drag and even worse, Liwayway becomes the feminine hero. This licenses the male to represent the normal in female. All hell breaks loose in a climactic build-up and anti-climactic ending. In one scene, Leroy acts overly feminine while applying for a job as a cook in a restaurant, in a later scene, Leroy is seen furiously kicking in the air, teasing spectators with what's under his skirt. In fashion and decorum, male represents female. So potent in this technique that in one scene, Greggy (Jestoni Alarcon) dresses in drag to duplicate Liwayway's garb. But symbolically, the duplication of Liwayway's image  is the duplication of Leroy's symbols, the power to dominate  and power to duplicate this domination. In the intertext of film and reality, homosexuality and feminism are threats to male ideology and are therefore contained. In corollary function, homosexuals and women are used to represent the male and capitalist systems of values and practices. In Leroy Leroy Sinta, the purity of the hearts of the poor is made supreme over wealth and power. The male ideology dominates in the perpetuation of male and capitalist hierarchies. Films like this naturalize male control of sexuality. Leroy Leroy Sinta denies access to homosexuals and women to influence, much more to effect, change. Or to realize their sexualities, their consciousness.

Directed By: Jett C. Espiritu
Screenplay: Jake Cocadiz
Cinematography: J.R. Peterman
Music: Boy Alcaide
Film Editor: Augusto Salvador
Production Design: Manny Morfe
Produced By: Seiko Films, Inc.
Release Date: February 18, 1988