Manila Kingpin: The Asiong Salonga Story

Asiong in action.

This might as well be the first time that I'm reviewing a film without a director. Of course it was, during production, helmed by veteran film director Tikoy Aguiluz, whose film "Segurista" I truly admire. But because of some post-production politics and creative clashes between him and the producers, Aguiluz's name, by his own request, was removed from the posters and the film itself, leaving screenwriters Roy Iglesias and Rey Ventura as the only people left at the top of the creative hierarchy.

"Manila Kingpin: The Asiong Salonga Story" was, above all, branded as a resurrection of sorts for the very dead action genre of the local film scene: an alternative cinematic reality reigned over by the likes of Lito Lapid, Rudy Fernandez, FPJ, and lots and lots of blazing machismo. It was truly a haven of myth-making capable of solidifying silver screen stars such as Ramon Revilla Sr. as an amulet-empowered 'crime does not pay' icon and Paquito Diaz as villainy and ruthlessness personified. This is the powerful formula only action movies have the strength and endurance to carry on for more than 40 years or so without looking, even at the slightest bit, exhausted. And in this film's case, it was that same, enduring formula that was utilized by George Estregan Jr. (or E.R. Ejercito) and company to serve us thirsty fans a tribute to the genre's lore and also a blood-drenched gangster tale that we can call our own.

Namely, some of the film's strengths are its exquisite cinematography and set design, which have genuinely evoked the 50's period with its nostalgic, often times claustrophobic and grayish visual treatment. Take note, 'evoked', not 'replicated'. If replication is the film's real intent, then they should have gone braver and filmed it in full color. But with its purpose being to merely create a distinct visual 'feel' completely free to express its own artistic liberties rather than to completely emulate a bygone era to the teeth, "Manila Kingpin: The Asiong Salonga Story" succeeded.

But although the film has meritoriously upheld its own visually, it has fallen short substantially. The film suffered in severe one-dimensionality in terms of characterization, with George Estregan Jr., most known for merely playing loud-mouthed, smoker-voiced supervillains such as Dr. Zyke in "Batang Z" and Ivan in Andrew E.'s "Extranghero", although showing relative depth and previously unseen dramatic intensity in his performance as the savage but gold-hearted titular crime boss, obviously looked awkward at times as he makes most out of the stereotypically-written lead role. While character actors like the ever so psychotic John Regala and the subtle Ronnie Lazaro seem to enjoy in their respective characters' caricature-like brutality, the always reliable Phillip Salvador suffered in his role's tiring and predictable 'although my brother's a hardened criminal I still love him' mentality as Asiong's older cop sibling.

Ping Medina, one of the best young actors working today, was underused in an underdeveloped character, and so were Yul Servo and Ketchup Eusebio. Though I can't say the same for Baron Geisler's, which fueled and enforced the film's theme of betrayal and split loyalty with his dimensioned, though predictable Judas-like character to Estregan's Jesus Christ. With Geisler and his mocking smiles and stares like that of a manipulative schemer, you can clearly read within his character that it's just a matter of time before he goes all Robert Ford to Asiong's Jesse James behind.

True, "Manila Kingpin: The Asiong Salonga Story" may have, in certain ways, hopefully reverberated the action genre with the urgency of its ambition, thanks to George Estregan Jr. and all the people involved. But I think that in time, this film will and should be more remembered as a pioneering crime film that just happened to have one action scene and two or three kissing scenes (!) more than the usual. And just when I'm merely recovering from a "Mad World" LSS hangover, here comes this film complete with its own instrumental rendition of the said song which puts a preachy, 'this is what you should feel' vibe to an otherwise well-executed, "City of God"-esque bullet ballet of a climax.

Now, despite of my scrutiny of the film no one really asked for, I truly enjoyed watching the film for what it is: A textbook action/crime opera. And as the film's credits roll and as the lights in the theater were switched back on, I can see the geriatric majority of the audience; a bittersweet sight that made me think of one thing: "These are the fans that you've left behind, action genre!" Fans that, for so many years, have settled for those pixelated 16 in 1 Robin Padilla DVDs and Cinema One reruns to compensate for the lack, or even the complete absence, of new, locally-produced action pictures.

Now, with not much left to say, I have appreciated this version more than I thought I would, but I'm still particular of the fact that in the long run and in the overall definition of what cinema is all about, the director's vision matters more than all the commercial-minded producers' combined. Now, can we have the Tikoy Aguiluz cut, please?

FINAL RATING

Bona (Lino Brocka)

Her 'boiling' point.

3 times. I have already seen "Bona" 3 times yet its emotional wallop never falters. Beyond its narrative simplicity mainly set in a destitute slums lies the emerging complexity from a character which may seem symbolic rather than true molds from reality at first sight, but whose conflicts, choices and behavioral preferences leads her to the truest form of inescapable existential mishaps that prove to be in touch with the reality of mindless idolatry.

The film opens with the haze of confusion during the 'Feast of the Black Nazarene'. Countless people grabbing the traditional rope, wiping their towels on the black statue and others watching curiously as they converge for an unhindered faith in hopes of blessings. Brocka shot this 'cinema verite' sequence with a great intent to expose the rawness and spontaneity of Filipino culture yet it's also his powerful initial statement to the pseudo-romantic fable that is about to unfold: The worship for something fantastically adamant and emotionally inanimate to even feel it.

The waves of the mob wants the mercy and guidance from the Black Nazarene, Bona wants love from movie bit player Gardo. Religion and romance. Not your typical, close-necked comparison, but I can see where director Lino Brocka is coming from. He wants to show the blinding extent of devotion both from an immense display of it (the feast), its miniature counterpart (Bona's enclosed self-depreciation in the name of 'love'), and even more so, its occasional futility.

Nora Aunor is Bona in one of her most mystifying and logically puzzling characters to date. The narrative never even showed us how she has developed her bizarre infatuation with movie extra Gardo (Phillip Salvador in a role that, as what my review of "Jaguar" states, showcases his acting talent of differentiating transitionally contrasting qualities of a character) and instead started somewhere in the middle. We see Bona do meager things any die-hard fans would do for their idol. She gives him food and drinks and even shelters him with her umbrella during a rain. Her actions were understandable yet the man it was all done to is questionable at best.

We may ask ourselves, what did Bona saw in this man? Is it his stature as a showbiz figure? No, he's merely an extra. Is it his looks? Maybe, but she sees him many times groping with many women. Why bother? That's the ultimate question that came into my mind. It may seem a mundane inquiry, but it is from this that comes the profundity of Brocka's stirring commentary about who Bona may really be: An epitome of a confused woman helplessly testing her ability to dare declare her misguided independence and try her luck and flirt with her idea of loyal love.

Gardo, on the other hand, takes advantage of her innocence and treats her almost as a maid and as his mother's second coming. And finally, after living with each other for a considerable time, Gardo executed his sexual advances, to which Bona welcomed in confusion. The morning after, as she mends the chores, she also consciously hopes to squeeze out love from whatever happened the night before.

This is the sequence where Nora's mark was indelibly left with the power only SHE can muster. After the night of their bodily contact, as Bona prepares Gardo's breakfast, Nora expressed her character's longing, aspirations and expectations for a potential development of a romance through her ever-impressive eyes. As Gardo eats, Bona waits. She's hoping for him to return a bright gaze for her countless pleading glances, but ultimately, there was none. The night was forgotten, after all.

Brocka handled it (story written by Cenen Ramones) without highlighting the glances but instead diluting it through Phillip Salvador's trivial dialogue. Brocka manipulated the screen by letting not just Bona to taste the bitterness of romantic defeat, but also us. We may never know of Bona's motivations to live with such an uncaring man in exchange of her family, but her recurring dream of being entrapped by flames and a moment in the wedding scene (of Bona's friend and former suitor, Nilo, played by Nanding Josef) may have given an answer.

While drinking a beer, as the other people shout "Sayaw, Bona! Sayaw!" ("Dance, Bona! Dance!"), she obliged. As she is dancing in half-drunk ecstasy, a bonfire blazes in her background. All her perceptions of happiness may have rooted out from her innocence, but ultimately, her joy is to be always near the 'fire'. Brocka in one of his finest, and so was Nora.

FINAL RATING

Jaguar (Lino Brocka)

'Jaguar' tamed, tired and disillusioned.

Among Lino Brocka's works, I think "Jaguar" is, above all, the perfect companion piece to "Maynila: Sa Mga Kuko ng Liwanag". They both feature protagonists clinging on some undeniable hopes of tasting some of the sweeter sides of life, yet too puny to fend off social denigrations they face in the very process of attaining it. We emphatically looked upon Julio Madiaga's dimming dreams of love and aspiration in the night lights of Manila and wondered how we can even cope up to the follies of his naivety. Now, here in "Jaguar", a film that is not a necessarily weaker approach to the similar theme of an individual's social alienation and subsequent transformation, those themes were then combined with the similar elements of a city's absolute, misleading promises with the idea of opportunity and ambition.

Phillip Salvador is perfect as Poldo, a security guard hired as bodyguard by his boss (played by Menggie Cobarrubias, one of the great local character actors whose name you probably would not know, but whose face you probably have seen in a gazillion Filipino movies. Google him, if you may) after being impressed with his fisticuff abilities. Unconsciously influenced by his own gullibility towards a temporary bliss of nightclubs, liquors and women, he went on with the flow. Little did he know that it will transform into a flood that will consume what is left of his simple sailboat unexpectedly adhered into a yacht of sin.

I do not want to delve into Phillip Salvador's scenery-chewing habit nowadays, but before, he was a damn great actor. And reflected by this film and "Bona", he is the most convincing of all Filipino actors to portray, then contrast, the transitional qualities of a house authoritarian (his character Poldo's erratic behavior in their house) and an idiotically-treated guard (just like how his complicated character in "Bona" changes effortlessly from being a dominant household slacker into a faceless action movie extra). Aside from the naivete which he depicted perfectly, there's one key sequence in the film which screenwriters Pete Lacaba and Ricky Lee have written with precise behaviors and wordings, and handled by Lino Brocka with an impeccable attention in mood-heightening.

It's a scene where Poldo's boss and his other rich friends visit their house located in the filthy slums for the fiesta. We see Poldo talking and acting frantically, ordering for the foods to be prepared, even shouting to his mother to move faster. Then he looks to his high brow visitors with an apologetic look and a controlled smile. Brocka emphasized Salvador's character to appear very diligent, not as a host, but as a lowly 'waiter'. Brocka caught his character's splitting persona (that of a house authoritarian and a servant) and enclosed it in the said sequence. To put these in such a brief moment in the film is truly masterful in the sense of how it was handled without such a simple scene looking over-treated.

Of course, "Jaguar" is primarily made for us viewers to care for Poldo the guard, but on the other hand, the film also reverses its focusing lens to glare at the obviousness of his numerous moral shortcomings. Do we sympathize with his predicament despite his initial patronization of the decadent glamors of the rich? Do we still care for him even though he has unconditionally bowed down to these people's ways? Those which led to his moral bondage? These questions were continually raised throughout the film, but again, like almost all great films, "Jaguar" never settled for any closed answers or absolute closures.

Poldo leaves his house straight-laced and seemingly looking for nothing but a steady pace of income. He crosses a plank slightly elevated from the filth of the dark waters of the sewers. Halfway, the plank falls down. Apathetically, he jumped the remaining distance into dry soil, without looking back, and into his work. If that's not foreboding, then I do not know. But only if he knew...

FINAL RATING