Nico Salvador's "Tatay Kong Bading" - Elementary Cinema Returns

Ike (Ike Sadiasa) is an preachy father of four, including grown up Mia (Mia Henares) and her younger brothers. Mia is a hard-working ambulant vendor whose brothers gather and sell wood. But life isn't all that bad. Mia maintains a relationship with charming Charles (Charles Delgado) who, unknown to Mia, is her father's object of desire. (He buys him drinks in plastic cellophanes. How chic, right?) Meanwhile, young lovers Barbie (Barbara Chavez) and Mico (Mico Madrid) can't keep their hands off each other, a sight that makes Mia despairingly envious. After all, her swishy father has just reminded her to finish her studies first so she can eventually help send her brothers to school.

One day, Mia comes home with a bad news. "May nangyari po sa amin ni Charles. Magsasama na po kami," she confesses to her livid father. She gets a slap and a mouthful, but this gets her to share her room with Charles who calms down his would-be in-law with a mere pat on the back.

But despite the seeming calm after the storm, Ike secretly talks to Alfonso (Enrique Sapanta), the kanto boy who's forty-turning-fifty. "Matagal na kitang gustong maging manugang," prods Ike who asks Alfonso to devise a scheme that would hopefully break Mia's relationship with Charles.

Alfonso then abducts Mia and rapes her. This frustrates Charles so that he goes on a drinking spree. He haunts Alfonso down and stabs him - without any one aware of his delectable act of vengeance. One night, Charles comes home dead drunk. Effusively benevolent Ike then assists his strapping son-in-law to bed, then (whaddayaknow?) in Charles' drunken stupor offers to massage him. (He can't even walk. Why would he sit up for a massage?) The wrinkly father-in-law then gets his hand on him - and, subsequently, his buccal mucosa to taste what his daughter has been feasting on. But inflagrante delicto, Mia catches her father with his mouth errrr... "full". What to do?

The morning after, Ike sees the error of his ways. He wails with grief, "Ipinagkanulo ko ang aking anak para sa isang lalaki," he cries ever so horridly - but of course he elicits his sense of remorse after he's tasted (more than) a few inches of Charles. (wink wink)

He grabs what seems like a blunt knife (the one served to gently slice meat during fine dining), runs faster than Usain Bolt, heads to the shore, cries further like a toddler on false teeth, kneels down, and dramatically stabs himself. Ouch. Not with a blunt knife. Everyone rushes to his dying body and cries. End.

In this scene, Sadiasa checks his son-in-law's wares while he bathes.

Director Mike Angelo Salvador's return to B-movie territory (he directed "Mahilig" in 2010 and has another film, "Bayad Utang" released this year)) is as randomly vacuous as his previous work. In fact, it isn't the easiest thing piecing together one coherent story from the way he presents his narrative. The progression of scenes seem aimless, and the running logic feel arbitrary at best. In the story, he dreams of a good future for his daughter yet he allows a "kanto boy" to rape her and be her new lover? Huh? Do we even see him work?

Lazy and inept film making is at play here. What's painfully evident is the lack of a back story. How did someone as effete (and old) as Ike have four children? Where is the children's mother? A case of supply-the-missing narrative? And if he really wanted good education for his daughter, why don't we even see her go to school; not even a pretense of studying, or wearing a uniform for that matter? A lot of things are missing in this narrative bubble. If you aren't flabbergasted yet, wait until a chirpy French song plays in the background. How avant-garde indeed.

GETTING IT ALL WRONG

Ike Sadiasa, gloriously swishy, wrinkly and balding - and can't act to save his life - gets "executive producer" credit as well, although this film could possibly be produced by the director's family. If you want more clues to this outfit's harebrained artistry, check their theatrical poster. They can't even get their stars' names right. And if you haven't noticed, the scriptwriter won't even assign fictitious names to his characters, thus the characters in the story carry the stars' screen names. Didn't I say lazy? Mia Henares becomes Mia Henandez. Barbara Chavez becomes Barbie Chaves. I could even hazard a guess that Enrique Sapanta could actually be "Zapanta".

Kristine Mina is prominently on display on the theatrical poster, you'd think she was central to all these shenanigans. Mina plays a balikbayan lass whose idea of a good time is "maligo sa tabo" than "to frolic on Philippine beaches" because, according to her, she's gotten tired of the beaches of Canada. Huh? Havey na havey, debah? Edit her out of the movie, it wouldn't change the story. Her presence is mere conceit and remains disposable. Yet she highlights the poster. Go figure.

The only flicker of light in this godawful flick is Charles Delgado who's sorely missed in Pink celluloid. Delgado has always been a comfortable, albeit generous actor (in ways you can imagine); not long on gravitas but nevertheless conveys a natural demeanor every time he's on screen. You would if you started baring your inches when you were just an impressionable minor. (He blazed the Pink cinema trail when he was barely 16.) He has since retired and gone bulky; a far cry from his twinky image in the past.

In one scene, Mico and Barbie canoodle with each others' bits while Mia looks on. She tells them, "Itigil nyo na yan. Naiinggit na ako." The couple won't stop. So Mia giggly repeats her message, "Tumigil na kayo." They don't. How many times does she repeat this line - before it changes to another scene? Five. That's the width, breadth and extent of the film maker's imagination. I rest my case.  
 

Watch that nose. Barbie Chavez delivers as awkwardly as her screen partner Mico Madrid.

Sadiasa does hari-kiri with a blunt knife while Charles and Mia try to stop him.

Cleo Paglinawan's Mga Lalake Sa Balsa - Of Underwear Holes & Rafters Who Never Sail

In a remote riverside town, able-bodied rafters (“magbabalsa”) peddle their flesh to tourists to augment their meager income. Times are hard, and customers are a dwindling breed. This is real life for Arnold (Jeremy Ian). After all, his mother was a hooker. While he desperately mopes around, roommate Tirso (Rocco Mateo) patiently listens to his constant gripes. Arnold is also unaware that Tirso harbors recondite affection for him.

If Tirso could have his way, he would sell his hut (“kubo”) so Arnold and he could start anew in the big city. Meanwhile, Lea (Barbara Chavez) – a married girl whose husband up and went because of his her penchant for canoodling with the town’s male population – has become Arnold’s constant benefactor and girl friend. During Tirso and Lea’s conscupiscent rendezvous, Tirso is left to his own devise wanking over his friend’s soiled briefs.

Meanwhile, aggressive and enterprising Jessie (Jerome Pineda) doesn’t think twice about turning tricks – even for a measly P100 with his limp wristed neighbor (Ike Sadiasa). Brimming with machismo, he offers his wares to any willing customer. But one person is particularly immune to his charms – the eternally lecherous Lea who is so infatuated with his hustling lover Arnold. “Ba’t di mo patulan si Jessie?” Arnold tells Lea but she wouldn’t hear of it.  

One day, tragedy strikes when JC (Mico Madrid – aka Mickho Madrid) forces himself on Jessie’s errr… uncharted territory. Despite Jessie’s colorful sexual past, taking it from his backside was beyond his limit. He suddenly feels violated, debased… “binaboy”, he laments. This event unravels into a tragic turn that has grave repercussions in the lives of his friends.

Jeremy Ian is Arnold

Director Cleo Paglinawan (“S.R.O.”, “Itlog na Pula”) returns with Kenneth Montero’s trite and confused story. In fact, “Mga Lalake sa Balsa” is a second banana to Monti Parungao’s decidedly middling “Sagwan”. To be fair, “Sagwan” feels like a masterpiece beside this atrocity. Paglinawan seems to be experimenting on how to pull down the iota of artistic standard she possesses. And she has succeeded in doing just that. She has done assistant directorial duties (under another mediocre director, Joven Tan) in countless B-movies that it’s baffling why she never learned the medium (“Bahay ni Lola 2”, ”Paupahan”, “Vhagetz”, “Project X”, “Eskandalo”, ”Binyag”, “Booking”, “Tutok”, “Dalaw”, “Bigasan”, “Dampi”, “Indie Boys”, etc.) Clearly, the blind can’t lead another into the light. Bad teachers can never mold better students.  

VEGETABLE CONNECTION

To some people, experience is obviously not the best teacher. How else do you explain the conundrum that’s Cleofe Paglinawan? If you saw her “Itlog na Pula” shown last April (wait for our review in this blog), you would agree with me when I say that these two films feel so similar, you could randomly insert scenes from either films and you wouldn’t notice the difference! Telling a simple story is a major dilemma for Paglinawan and her storytelling posse which, then, begs the question – why stay in a business that you so miserably botch every time? She could be more productive planting say, turnips, or patola and mustasa. Or even kadyos! My dad loves kadyos – so Paglinawan will make one soul happy if she switches careers! If she has green thumbs, she could even get herself declared “Farmer of the Year” in Bayombong, Catanduanes or Tawi Tawi. Ayaw n'ya nun? It's a relatively more promising career!

Jerome Pineda exudes good looks, confidence and natural charisma.

JESSIE, JC

“Mga Lalake sa Balsa” is told in chronology, but it might as well be otherwise. Now here are just a few of the befuddling loopholes in its very elementary narrative. I was transported to the twilight zone when, from out of the blue, Jerome Pineda’s character Jessie suddenly bursts into “Baboy ka JC!” – as he stands with wet white briefs on riverine waters. Where did his palpable indignation come from? Isn’t Pineda’s character named Jessie? Was there another Jessie? Turns out, the town voyeur – played by Mico Madrid – is homonymously named JC! Brilliant, right? Such flashes of inspiration. Jessie and JC! Weeh. Is there a dearth of names I wasn’t aware of? Or does this highlight the limited ideation of the scriptwriter? Mind you, naming characters has got to be the hardest preoccupation for a writer, debah?

Here's a possibility. There could only be one Jessie. Mico Madrid's character could originally be left unnamed, but some time, during the filming, the actors were fed the name of Jessie, thus this confusion! But adhering to this theory is highlighting the fact that the film makers are nothing but bunch of sniveling morons with brains the size of a mosquito. How can you not remember the name of characters you yourselves created? Thinking this much gives you toothache ba? :)

Mico's character hides behind rocks and bushes as he salivates on Jeremy Ian, Rocco Mateo and Jerome Pineda who enjoy several bath scenes (river and bathroom). These barrio boys are so hygienic, don’t you think? Moreover, when they bathe at the batis, they all assume supine position - they lie on their back with face and crotch upward! Is this how we are supposed to enjoy the river? This must be the new fad for summer! How fashionable!

Now why was JC “baboy”? Does he mimic porcine snort? Does he eat slop or kangkong? Not really. Towards the film’s conclusion, the dastardly deed is shown. JC sodomizes the unwilling Jessie during a transaction gone awry. (Jessie expects oral service, but JC overpowers the obviously mightier, taller, more muscular Jessie.) The film editor evidently misplaced the post-“rape” scenes of a grieving Jessie 30 minutes too early, and we’re not even talking about “flashbacks” since the narrative is, as said earlier, told in chronology. 

If the narrative thread is familiar, it is probably because (director) Darry dela Cruz is on board as Paglinawan’s assistant director. You see, in Dela Cruz’s films (“Bingwit”, “Daklot”, “Frontal”), his main characters always resort to prostitution, then someone always dies in the end. “Mga Lalake sa Balsa” is no different. In fact, two major characters die! How’s that for leveling up? J

Barbara Chavez as Lea, Mico Madrid (now Mickho Madrid) is the town voyeur JC

TATTERED BRIEFS

If you need a good laugh, look no further and take note of a couple of separate scenes involving Jeremy Ian and Jerome Pineda where, with cameras panning closely on their crotches, you notice big “holes” on their underwear! Holes! I swear I could see the rings of Venus and the moons of Jupiter. Or was that my imagination? What is this world coming to when a film production cannot even afford decent underwear for their actors? I was actually willing to loan my yaya to the production because she is excellent where needle work and sewing are concerned. In fact, I was ready to practice my crochet on those tattered undergarments, most especially Jerome’s. Ayayayayay! I whole heartedly volunteer! J

NO RAFTING

What’s funnier is how we never see these “rafters” row a balsa – not once. The rafts shown were broken and, surely, rafts couldn’t buoy on rocks. This makes the title - “Mga Lalake Sa Balsa” - spurious. Rafters who never sail? Ang galeng, right Chris Tiu?

Robots populate this ouvre, but you can hardly blame the actors who are made to portray character sketches with no valid sense of intent, each one a fallacious caricature. It’s likewise hard to impart empathy on people who deliver lines as oddly as this lot.

GLIMMER OF LIGHT

But there’s a surprising find at the end of this nebulous adventure – newcomer Jerome Pineda! With his gorgeous masculine features, Pineda delivers lines earnestly and naturally as though he has done this several times in the past. Yet this is just his second film (we saw him earlier in Paglinawan’s “Itlog na Pula”). Sure, his lines are befuddling, and the situations are egregious, but Pineda exudes confidence and a star swagger. It doesn’t hurt that he is exceedingly easy on the eyes! Barbara Chavez looks particularly doped out. Poor girl! As for the rest, let’s just say that their parts haven’t been kind to them.

So why should I?

Rocco Mateo is Tirso. He's in love with his friend Arnold.

Mico Madrid smells the plant? Or his underarm? :)

Jerome Pineda: naughty smirk!

Jerome Pineda invites you to his shower. :)

Barbara Chavez looked dazed all throughout.

Note:

Please read our featured post on Cinema Bravo and why Web Criticism sometimes makes us nginig.
- http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html