SARI-SARING SINENG PINOY

Hindi Mapigil Ang Init

Penekula, the other form of melodrama was that species most characteristic of the decade that witnessed the celebration of the sex urge in the arts. Penekula was melodrama that was as moralistic as the traditional sarsuwela. Its values were as old fashioned as those found in earlier forms of popular culture like the soap opera, the komiks novel and the serialized novels of weekly vernacular magazines. What gave it its sensational character was the subject of sexual relations and the frankness with which the camera filmed bed scenes only coyly suggested in bold movies. Hindi Mapigil Ang Init (RJR Films International / Fantasy Films International) was the first penekula. It is about a young woman named Carmen (Myra Manibog), her sexual urges and the men who would quench it. Her suitor Kardo (Orestes Ojeda), her boyfriend Arnold (Albert Eugenio), her brother-in-law Ramon (Mark Joseph) and her husband Fernando (George Estregan). The movie was an instant hit, prompting every other producer to outdo its sexual acrobatics that sold so well. This soft porn trend did not produce anything that would qualify as a classic of the genre. Penekula ties the issue of eroticism in Filipino filmmaking with the political maneuvers of the Marcos regime. The economic and political crises that have shaken the regime since the Aquino assassination in 1983 are an inescapable and eloquent context for the rapid proliferation of erotic representation. History has not recorded a single case of a genuinely democratic revolution successfully defined by an avalanche of pornography.

Talk about penekula and the name Lito de Guzman comes to mind. In Hindi Mapigil Ang Init, he showed that women deserve to enjoy sex as much as men. They have the right to pursue their happiness without feeling guilty and they also have the right to defend themselves. The characters are caricatures in the tradition of the porn movie and of the media drama. There's also no worthwhile conflict that unfolds. Situations are contrived and pretty predictable. Hindi Mapigil Ang Init is obfuscated by mediocre acting, bad lighting and sloppy editing. The film is tidy and awkward in characterization. It has neither script nor direction in some scenes. Sickening is the fact that in the end, after wallowing in distorted images, Hindi Mapigil Ang Init moralizes by sending a message that sex is bad, woman is bad and if there is no exit, woman is to blame for all the mess. Its impact on the form of subsequent Filipino films was to manifest itself in new candor in the handling of sex as an integral part of any true-to-life treatment of love relationships. Erotic movies blatantly indulged the penchant for comfort and luxury which includes enjoyment of pleasure offered by food and sex under a repressive political regime.

Directed By: Lito J. de Guzman
Screenplay: Ramon Catubigan
Director Of Photography: Joe Tutanes
Music By: Jennylee
Film Editor: Rene Tala
Produced By: RJR Films International And Fantasy Films International
Release Date: April 11, 1986

Rocco, Ang Batang Bato

Cleverly making use of tried and true entertainment techniques, Rocco, Ang Batang Bato (Cinex Films, Inc. / D'Wonder Films, Inc.) is far from boring and at certain points, in fact, is exciting. Although the plot line is hard to follow, the viewer will not have any problem following the fight sequences which effectively combines sword play and special effects. The film certainly knows its proper audience. It is so seldom that Philippine cinema tries sophisticated special effects that even if below par, they are still commendable. The laser beam attacks on Rocco (Niño Muhlach) during the death sequence are not technically perfect, but they are interesting and adequate. The giant effect, done by double exposing the left-hand corner of the film, is better here than in previous attempts by more respected filmmakers to create giants on screen. Although primitive by Hollywood standards, the special effects are marvelous. There is even an attempt by the writer and the director to infuse social commentary within the movie. The poisoning of the sea by chemical waste from factories, for instance, is a good example of how to make children ecology-conscious without being obvious. Eldee, the character played by Jimi Melendez, an army doctor who has come to investigate the chemical poisoning of the sea, is clearly a good man, making bad guys out of the factory owners. Here is a subtle lesson children should not forget, water pollution is a weapon used by bad individuals in society.

Filmmakers since the earliest days have always been fascinated by the genre. To quench their thirst for the unknown, to slake their frustrations over the unseen or the abstract which the senses cannot verify and the mind can only point at, Filipinos are hysterically fond of mythological creatures. This need to verify a mental construct makes the Filipino feel that we can control the unseen and thus not be totally powerless. The problem with Rocco, Ang Batang Bato however, is neither technical nor social, but fundamental. The screenplay is obviously based from Clash Of The Titans (1981) from which the film takes its land of the Gods sequences. Rocco gets the sword and shield from the Gods just like Perseus in the Hollywood film. Rocco has to face all kinds of monsters  and search for his mother Cora (Cecille Castillo). The film even names some of its characters, Janus (Liz Alindogan) and Vulcan (Venchito Galvez) from Clash Of The Titans. But why use foreign mythology when Philippine folklore has enough monsters which can be used in fantasy films. There is however a directorial touch I like in J. Erastheo Navoa's films. He tends to do tongue-in-cheek violence. One scene in the film stands out. When Rocco is cornered by the twin monsters, he sees Excalibur embedded in a rock. After all he is a rock, get it? He tells the monsters that their time is up, since he will be King if he draws the sword. Here is a spoof of the Arthurian legend which redeems the triteness of the situation. Needless to say, when Rocco finally draws the sword, the blade is stuck in the rock.

Directed By: J. Erastheo Navoa
Screenplay: Joeben Miraflor
Cinematography: Hermo Santos
Music By: Ernani Cuenco
Film Editor: Joe Mendoza
Produced By: Cinex Films, Inc. And D'Wonder Films, Inc.
Release Date: June 25, 1982

Sa Likod Ng Himala

Ang lipunan sa pelikula ay larawang hinango sa lipunang ating kinaroroonan ngunit ang mga sangkap ng imaheng ito ay nagdaan na sa isang prosesong kinasasangkutan ng mga negosyante, manlilikha at teknikong may kani-kaniyang imahinasyon, motibo at kasanayan. Samakatuwid, ang lipunan sa pelikula ay hindi ang lipunang ating ginagalawan sa mga sandaling ito, larawan lamang ang mga ito na madalas nagpapakita ng mga tao, pook at institusyong kilalala natin at manaka-naka ay gumugulat, umiinis, nagmumulat sa atin dahil kakaiba ang mga naroroong mga salita, situwasyon at resultang isinasalaysay. Mainam ang pagkakasalin sa Tagalog ng pararilang Ingles na tumutukoy sa mahika at siyensiyang nagbunga ng nangaunang pelikula. Mga aninong gumagalaw ang itinumbas sa moving pictures. Tunay na akmang-akma sa puntong panayam tungkol sa lipunan sa pelikula, higit pa kung daragdagan sa pinilakang tabing. Mga aninong gumagalaw sa pinilakang tabing. Ang mga tao, pook at institusyong inilatag ng aparato sa iskrin ay anino lamang ng mga tao, pook at institusyong kilala natin. Higit pa itong pinapatingkad ng mga katagang pinilakang tabing ang kaibahan ng mga tao, pook at institusyong itinatapon ng liwanag sa ating harapan sa kadiliman ng sinehan.

May filmmaker sa Himala (Experimental Cinema Of The Philippines, 1982) na naniniwalang ang kanyang sining ang pinakamahalaga sa kanyang buhay. Nagtungo siya sa Baryo Cupang na biglang nagkabuhay nang may dalagang nagsabing pinagmilagruhan siya ng Mahal Na Birhen. Hindi sang-ayon ang kanyang prodyuser sa pelikulang nais niyang gawin, ngunit itinuloy pa rin ang kanyang proyekto at pinagbigyan ang tawag ng kanyang sining. Sa pagkuha niya ng mga imahe ng mga tao, lugar at pangyayari sa baryo, hindi niya pinagplanuhan ang tutunguhin ng kanyang obra. Naging saksi siya, kasama ang kamera sa paggahasa ng dalawang durog na tinedyer sa dalaga ng mga himala at nagsimula siyang mag-isip na may kaugnayan sa buhay ng mga tunay na tao ang mga larawang kanyang tinitipon sa pamamagitan ng kanyang kamera. Bagamat hindi siya relihiyoso, natutuhan niyang sumangguni sa pari sa kompesyonaryo. Ang paring hindi kumbinsido na may himala ay nalagay sa posisyong kailangan niyang magpahayag ng kanyang paniniwala. Sa isang sermon, sinabi niyang may pagkakataong ang kasinungalingan ay siyang higit na kailangan ng tao kaysa katotohanan. Ang himala sa pelikula ni Ishmael Bernal ay hindi ang himala na kinikilala ng simbahan matapos nitong suriin ang mga pangyayari at ang bisa ng pagsuspinde sa mga batas ng kalikasan ay opisyal na tanggapin ng mga may-kapangyarihan. Ang sinasagasa ni Bernal dito ay ang kombensiyunal na paniniwala ng mga deboto sa inaaral ng simbahan. Walang himala! Ang himala ay nasa puso ng tao! Tayo ang gumagawa ng mga himala! Tayo ang gumagawa ng mga sumpa at ng mga Diyos! Sa kapanahunan ng diktaturyang Marcos, may politikal na implikasyon ang mga salitang binitiwan ng dalagang sa simula ay pinagpakitaan ng Birhen. Ipinakita ni Bernal sa Himala ang kabilang mukha ng reyalidad na hangad ipatanggap ng mga naghahari sa lipunan. Ang tao ang gumuguhit ng kanilang tadhana, hindi ang siang taong umaangkin sa kapangyarihang babago sa lipunan. Ang putok na pumugto sa buhay ng dalagang natutong magsabi ng totoo ay simbolikong pagpapasabog sa reyalidad na nais ipatanggap ng Bagong Lipunan sa mamayang Pilipino.


Direksiyon: Ishmael Bernal
Dulang Pampelikula: Ricardo Lee
Sinematograpiya: Sergio Lobo
Musika: Winston Raval
Editing: Ike Jarlego, Jr.
Disenyo: Raquel Villavicencio
Prodyuser: Experimental Cinema Of The Philippines

Room 69

Mula nang lumabas ang Isla (1984), ang kauna-unahang pelikulang pumatok sa Manila Film Center, totoong malayo na ang narating ng sineng Pilipino sa larangan ng seks. May isang kabutihang dala ito, ang paghahanda o pagkokondisyon sa manonood na tanggapin ang mga pelikulang ang paksa at tema'y umiinog sa kasarian ng tao. Maihahanay dito ang mga obrang kunwa'y tumatalakay sa buhay at pag-ibig ng mga puta at mga pakawala tulad ng Room 69 (Victory Films) ni Artemio Marquez. Ipinagngalandakang seks komedi daw ang pelikula. May materyal kung materyal ang pag-uusapan, ngunit kung ito nga ay pumapaksa sa isyu ng seks sa nakakatawang paraan ay mahirap mapatunayan. De-kahon ang pormulang ginamit dito. Pinamumugaran ng mga puta ang isang malaking bahay na hinati sa dalawa. Sa itaas, nanunuluyan ang mag-inang Adela (Rosemarie Gil) at Pilar (Irma Alegre) kasama sina Carla (Emily Loren) at Luisa (Glenda Araneta). Sa ibaba naninirahan si Maxima (Celia Rodriguez) at mga alagang sina Cora (Sarsi Emmanuelle), Betty (Pepsi Paloma) at Sisa (Myra Manibog). Kung tutuusin, ang mga katauhang ginagampanan ng mga babae sa pelikula ay hinuhulma pa rin sa kumbensiyon ng pagiging babae na tinatakda ng lipunan. Bungangera, pakialamera, mukhang pera, seks objek, puta o babaeng tinubos ng pag-ibig ng lalaki, halimbawa nito ang pagtubos nina Danilo (Lito Gruet) at Efren (Raul Calma) kina Pilar at Cora. Nakakatawa pagkat idinidiin na hindi ito dapat panularan. Kung gayon, ang katatawanan ay nakabatay sa pagtatawa sa mga lihis na mga gawi o mga pagkakamali na hindi naman pinaliliwanag kung bakit mali o di-dapat pamarisan. Sa pelikulang komedi, tumitibay ang kalagayan ng babae at kumbensyunal ang turing bilang object of ridicule na hindi dapat seryosohin. E ano nga bang nakakatawa sa gayon?

Stolen Moments

Stolen Moments (Regal Films, Inc.) is an interesting movie, mainly because it almost makes it. The film has a number of good things going for it. Although there are two or three lines about the gap between the rich and the poor, Stolen Moments is not a social film. It is really a study of Alex Bernabe (Miguel Rodriguez), an ambitious delivery worker at a furniture factory. He sleeps with Marietta (Rio Locsin), his landlady's niece and girlfriend of best friend Fredo (Rey P.J. Abellana), until the owner, Quentin Tagle (Robert Arevalo) hires him as a family driver. Carol (Alma Moreno), Quentin's daughter falls for him and they have an affair. Alex dreams of escape from poverty. There is a scene where he looks with longing at a group of Carol's rich friends, we can see in his eyes that he wishes to be one of them. One of the clichés of Filipino films is the slapping sequence, almost every film has a confrontation scene complete with characters slapping each other. Borlaza uses this cliché to advantage in Stolen Moments. The first time Carol tries to slap him, Alex fights back, unwilling to compromise his dignity as a human being. In the second slapping sequence, he is slapped by Marietta, he allows her to hit him, revealing a loss of his strong self-will. In the third slapping sequence, he allows Carol to slap him again and again, he has lost all his self-respect in his search for wealth. In the last confrontation scene, he hits Marietta, thus reversing the social roles, he now no longer respects other people's dignity.

The film succeeds as far as the psychological portrayal of Alex is concerned. As he rises in social class, he falls in strength of will and integrity. In the beginning, he works hard, towards the end, he becomes completely servile to Carol and Quentin. Alex is a slave to his desires, to Carol's passion, to her father's wealth. They could have played out the complexity of their role as social agents in more cinematic detail. The film fails, however, as far as social content is concerned. Society is not really to blame for Alex's tragedy, his sex drive or his heart is more clearly at fault. By focusing attention on Moreno and Locsin, Borlaza diverts the viewer from the crux of the problem. The story is really Rodriguez's, in a sense, both Moreno and Locsin are only supporting actresses. But because the two actresses are more popular than Rodriguez, Borlaza is forced to give them equal screen time. Moreno and Locsin are merely indispensable objects of Rodriguez's lust and love. They are there to clarify his situation, it is he who develops in the story. A similar problem plagues the direction and the acting. The movie's first part is promising. There is an earthy realism about it which contrasts sharply with the stiltedness of some of the later scenes. It is when he moves away from the slums and into the manicured suburbs that Borlaza runs into trouble. It is trouble which most filmmakers seem to trip on, a kind of misconception about the way rich people act, speak and think. The best illustration is Alma Moreno's socialite, who invariably keeps her nose in the air and her eyelids lowered disdainfully. And Miguel Rodriguez seems undecided about playing his part as a brooding young man or a dashing gigolo. A pity, because Stolen Moments could have been an excellent study of an individual's tragic loss of will.

Direction: Maning Borlaza
Sceenplay: Jose Javier Reyes
Director Of Photography: Sergio Lobo
Music: Jaime B. Fabregas
Editor: George Jarlego
Production Design: Cesar Jose
Produced By: Regal Films, Inc.
Release Date: May 28, 1987

Asedillo

Ayon sa kasaysayan, si Teodoro "Dodo" Asedillo ay may paninidigan, matapang, mabait, matulungin at higit sa lahat, makabayan. Ito ang simula ng alamat ni Asedillo  (FPJ Productions). Magandang estilo ang pagpasok ng testimonya sa pagbuhay sa ating tauhan. Pero sino ba talaga si Dodo Asedillo? Si Dodo (Fernando Poe, Jr.) ay isang gurong nabuhay noong 1920's. Panahon ito ng maraming pag-aalsa na ibinunga ng kampanya ng pasipikasyon at amilisasyong pinagtuunang pansin ng mga Amerikanong kolonisador. Ang pangyayaring ito ang nagtulak kay Dodo na talikuran ang pagiging guro hanggang sa mahirang siya bilang hepe ng pulisya sa  bayan ng San Antonio. Di nagtagal, napagbintangan siyang magnanakaw at natanggal sa katungkulan. Dahil sa kawalan ng katarungang panlipunan at sa malaking agwat ng mayaman at mahirap na bunga ng piyudalismo, umanib si Dodo sa Samahan Ng Mga Anak Pawis. Ngunit sadyang naging masalimuot ang kanyang buhay pamilya nang mamatay sa sakit na tuberculosis ang asawang si Maria (Rebecca). Sa panahon ng pagpapanibagong-lakas ng kilusang makabayan, pinakasalan niya ang dating kasintahang si Hulya (Barbara Perez) at pinagkalooban sila ng isang anak na babae. Ang kilusang ito ang lalaban kontra sa mga mapaniil na elemento ng lipunan. Kung si Dodo nga ay isang gurong makabayan na nangangailangan ng hustisyang sosyal, magandang tema sa pelikula ang kanyang naging buhay. Tinangka ng iskrip ni Celso Ad Castillo na buhayin ang mga pangyayari mula sa dahon ng kasaysayan. Ngunit ang isang alamat para maging alamat ay hinahabi sa pagsasanib ng katotohanan at pantasya ng imahinasyon ng nagsasalaysay. Mas malimit, ang paboritong paksa ay nagpapasaling-labi at ang pangunahing tauhan nito ay siyang nagiging folk hero ng kanyang bayan. Pero sa alamat ni Castillo, mas binigyang buhay ang makabagong pantasya kaysa katotohanan. Halimbawa, ang gamit ng pantasya ng kamera. Ang kulay, anggulo at kalahatan ng komposisyon ay tulad sa pintura ng artista. May buhay ang alon ng tubig sa ilog, madarama ang nagbabadyang kadiliman sa paglubog ng araw. Ang mga ito ay parang gayumang umaakit na damahin ang buhay na ipininta ng artista. Kay gandang sinematograpiya. Pero hindi ito ang reyalidad na tinutukoy ng kuwento. Hindi ba ang pinag-uusapan ay ang pakikibaka sa karapatang pantao ng mga mahihirap? Paano ngayon bubuhayin ang mensahe? Paano isasalarawan ang himutok na sumasabog sa dibdib nito tuwing magaganap ang ritwal ng pagsasamantala?