Miko Jacinto's Salo - Accommodating Affections

Rene (Paolo Rivero) is 30. Every day, he routinely leaves his steaming cup of coffee on his way to work. He runs a business that his family has left for him. Though relatively well off, Rene keeps to himself. He leads a solitary, albeit lonely life. He also employs a driver Levi (Kristofer King) who waits for him all day. Back home, his grandmother Mila (Anita Linda) lies on her sick bed in a coma. Rene gets regular visits from his “tita” (Perla Bautista) who does odd things for them: she (supposedly) takes care of her bedridden friend and occasionally sets the bashful Rene for blind dates. But he never quite connects with anyone. He in fact harbors a secret that had dire consequences one time he unraveled it. He is gay. And he harbors affection on Levi who unfortunately is in a committed relationship.

When another of Rene's blind dates doesn’t materialize at a beachside resort in Pangasinan, this opens an opportunity for Rene to spend time with Levi who, conveniently, prefers a naked frolic while he enjoys the ocean waves. Will Rene’s wistful glances come to a fruition? Will tattooed Levi entertain his closeted employer? Guess.

Miko Jacinto’s “Salo” (Share) is a surprising work. Unlike most pink films, Jacinto engages and dives into his narrative - frame after frame - with hardly a spoken word. In fact, most of the spoken lines are left hanging, i.e. there’s hardly an exchange of words. This eventually creates semblance of mood and nuances. “Salo” also benefits from Romy Suzara’s beautifully composed scenes, giving the impression that this isn’t your hurried, shoddy, one-take production.

But there is a problem where narrative details are concerned. Perla Bautista’s character, for example, bewilders. She’s the coquettish “tita” who “barks” loudly, spewing lines like: “Bumangon ka na. Masaya ang mundo. Naalala mo pa ba, dati sabay tayong nanlalalaki?” You aren’t sure this was meant to be spoken by an elderly matron. In another scene (where she gazes at the driver washing the car), she said: “Type ko siya. Matrona ba, magaling ding maghugas.” When told that Levi’s spoken for, she replied: “Kahit gawin mo pa akong kerida, ok lang!” And as if to seal the real identity – or sexual preference – of the character: “Nakadami ka na ba?” Though I understand that her character was meant to stir vitality to an otherwise dour story, her character is a tad too uncouth to be believable. You only have to see how matronly she dresses to feel this incongruence to her peculiar manner of speaking.

Spoilers!

Then there’s Anita Linda, Lola Mila, who’s confined to her sick bed. She doesn't move, doesn't open her eyes, doesn't speak. She was never given a line - not even for a short flashback. And the essence of Anita Linda lies in her expositions which were curiously clipped making this cameo nothing short of befuddling.

When her grandson Rene confessed that he’s actually gay, the news so distraught her, she went into coma. Yes, it's a homosexual-induced comatose it's one for the medical books! This spotlights the gravity of “coming out” – it can drive people to coma! J Moreover, the whole time she lay on her bed, we don’t see her with an IV line or a nasogastric tube. Since she never wakes up; how then does she feed? What’s funnier was when Mila eventually expired, this was when we find evidence of life: a pulsating jugular neck veins and the flickering of lashes. Wee.

Paolo Rivero and Kristoffer King have been around in the business so it doesn’t surprise that they lend their scenes a degree of realism and natural grace. Director Jacinto seems also aware of the thespic limitations of Jeff Luna (who plays King’s live-in partner Manny) so his spoken scenes have been played down; his dramatic lines are cleverly shot with half of his body partially covered by frames or shadows.

Because of its genre, de rigueur scenes of nudity find Rivero and King in states of undress, each has 4 bathing scenes, while King shares a shower with Jeff Luna. Showers and bathing scenes constitute a salient feature of a Pinoy Pink, didn’t you know? But consider King’s amusing scenes at the beach: he runs towards the shore then gradually takes his clothes off as he plunges into the waters. Between huge boulders, he pulls down his briefs then sits on a rough bed of pointy, sandy, scratchy corals. Can you imagine what particles get lodged in his anatomical crevices? Ouch.

Despite carefully planned scenes and artistic experimentations, there’s something gravely disturbing about an elder lady – a “tita” – who advocates polygamy. I was having second thoughts if Perla Bautista wasn’t meant to play a transvestite. Let me cogitate on that.

Jeff Luna, the sexy king of monotones.

Note:

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

"eXsena" Lures Jeff Luna, Charles Delgado and the Pink Boys

There was a time when guys were mere afterthoughts in skin flicks. These days, with the economic viability of pink-flavored flicks, guys have become centers of attraction, while baring ladies are treated as disposable decoratives. I think times have dictated the showcasing of guys as "objects of desire" instead of the fairer sex. This trend is evident in the current crop of exploitation films being churned out by 2nd rate production companies like Leo Films who's producing male-oriented films week after week. One such flick is the fly-by-night indie called "eXsena".

Darry dela Cruz’s “eXsena” gathers some of the country’s most in-demand pink cinema boytoys - Paolo Rivero, Kristoffer King, Charles Delgado, Jeff Luna and Rob da Silva (of "Lagpas") - apparently, to knock some sense into viewers’ libidinous heads as the gay indie cautions them about the hazards of poverty and male prostitution! Sounds noble, doesn’t it? But “nobility” should only be attributed to something (or someone) illustrious - like the British Queen perhaps, who’s born into it.

While the movie isn't as bad as Cris Pablo’s schlongs-and-gutterfests nor as brain-dead as Adolf Alix’s self-indulgent "Temptation Island" parody he labelled “D’Survivors,” Darry dela Cruz's film isn't that much different from other perfidious gay flicks that use every conceivable tricks in the Exploitation 101 Handbook to eke out scenes that “artistically” display their actors’ assets (or liabilities, depending on how you look at it) in flagrante delicto. And which “actors” can do this daunting task of displaying phallic cartilages better than King (“Serbis”, "Indie Boys") and Delgado (“S.R.O.", "Pagnanasa", "Junior,” “Senior”)?

Luna, Rivero, King, Delgado and Da Silva - Pink Film boytoys in "eXsena"!

The movie follows Ron (Kristoffer King), a perpetually cash-strapped cameraman who witnesses how the stories of the film’s other protagonists play out. Charles Delgado is 18-year-old Ferdie Romero, a provinciano bit player who relocates to Manila after a gay director-pimp, Leonard Villarama, convinces him he’s got what it takes to be a sexy star (wasn't he another provinciano lured into the big city in "Pagnanasa"?) - this occurs during an excruciatingly vomit-inducing moment they share on the casting couch (a similar scene with Delgado opened "Pagnanasa" produced by the same film outfit!) When Ferdie gets to Manila, however, he realizes that the megman is dirt-poor, and there’s really not much (film) work to be had from the director, who then peddles Ferdie’s sexual services to other gay men.

Meanwhile, Ron is having a difficult time making ends meet, as he is being constantly nagged by his wife (Lorraine Lopez). Worse, he’s unaware that his disconsolate wife is having a scorching affair with a strapping Cebuano hunk (Jeff Luna) who wants to elope to Nueva Ecija with her. Ron manages to steal a colleague’s assignment by dropping his pants in front of his arrogant gay producer (Rob da Silva, who once again bottoms as he did in "Lagpas").

Ron’s ability to “find” work amazes another financially needy cameraman (Paolo Rivero), who eventually shoves his crotch on Da Silva’s face to earn much-needed money he desperately needs to pay off his debts.

Another opportunity presents itself to Ron when he gets to the location shoot of the porn-flick racket he stole from his cameraman friend—darn it, the film’s hunky lead is nowhere to be found! So, he convinces the gay director that he’s more than able to pull off the “challenging” task of performing sex scenes in front of the camera.

Leo Films can't seem to go beyond caricatures. After all, it's obvious that "art" isn't its primary objective, is it? This reduces every actor in this film looking like walking penises, instead of sympathetic characters. As always, King and Delgado are more than willing to strip and shake their chunky nakedness in front of the camera. Rivero at least displays an affecting vulnerability in a role that he’s done ad nauseum. 

But what bothered me most was the expendability of the lone female lead, Lorraine Lopez ("Pipo", "Big Night"). When are females suddenly second-class citizens in sex flicks? When Lorraine finally gets to disrobe, I shivered at witnessing unsightly adiposal excrescences. I suddenly understood why she's just a side show.

Lorraine Lopez: flawless beauty, artistic pose that hide unflattering flabs. Nothing that a few hours of treadmill a week won't remedy.

Note:

Please read our featured post on how Web Criticism is at times populated by wanna-be writers who can't even write yet they posture like critics!! Example - Cinema Bravo!

- http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html

"Indie Boys" - On Gaudy Satires and Eye Candies

From the poster alone, the intentions of the movie is rather incontrovertible, which is sad since the story could have been a compelling satire on the present state of the Pink Film-churning independent movie industry.

Capsule

It has been 10 years since director Leonardo David’s (Paolo Rivero) last movie, and the famed director is close to getting down on his knees for a chance to work again. But luck is smiling on our protagonist. Liwayway Films' producer (Anita Linda) is forking out P400,000 for a trend-chasing film believed to turn in huge profits for the flagging company (Remember Viva Films' post-80's/90's glory when all they could produce were sex films?) The subculture community is suddenly on a whopper.

But the fun is really just starting for Direk Leo who still has to name his cast and more importantly, write his script! Publicity mill starts its wonders and soon, a riveting line-up of characters are buzzing around Leo: the effete publicist (Shalala) and his underage boytoy (Charles Delgado); the duplicitous newcomer Ryan Delfin (Guio Munoz); the despondent actor-wanna-be Raymond Sanchez (Andrew Miguel) who deliberately throws himself to Leo for a lead role; and Leo's ex-lover Lando (Kristoffer King) who once starred in each of Leo's projects, but eventually fled when the director's luck ran out! This takes Leo on a roller coaster ride that allows him to wield his wand - and will - on people.

Satire

But the anticipated arc of story telling foreshadows an eventual downfall - or tragedy. In the film, vices and abuses of industry people are boldly held up to ridicule; shortcomings of desperate souls are underlined - and we have a gaudy satire that dispenses precarious social commentary on this high-riding system that churns out gay-flavored eroticas! But - "Kailangan may girl na maghuhubad," suggests the excited publicist - to give the closeted guys an excuse to watch the film, without calling attention on their sexual preference. I couldn't say it better! ;->

However, wit is an imperative element of satire, something that is a bit wanting in the script. In fact, some situations driving the characters' motivation wallow in maudlin predictability. Let's take for example the case of newcomer Ryan who's able to snatch the lead role away from Raymond. When it was high time to do his "full frontal" shots, he balked - at the behest of his manager! I thought director Leonardo David is a seasoned pro in the business? Why does he seem too naive and too tentative to wield his authority? Logic doesn't pan out.

Andrew Miguel, aka Mike Chavez in real life, cuts a dashing, albeit bland figure on screen. When he is transfixed and caught on photographs, his profile is arresting, you would take a second glance to stare. But whenever he moves, his facial expression looks clumsy and graceless, which may somehow work for his character - the gullible cad Raymond who would stop at nothing to get what he wants. But you get the feeling that he is holding back, despite being co-lead alongside Paolo Rivero who's commendable as the gay director Leo. In fact, the most that he gets to show is his backside when this is supposed to be his film showcase.

I'd say, good for him. He may have reservations since he dabbles these days as a part-time singer (with a hit to boot: Young Men's "Mas Mahal Na Kita Ngayon"). Besides, he seems a little on the heavy side here, with extra poundage evident around his waist. The other guys in the film aren't as lucky from keeping their genitalia off the screen (Guio Munoz in his after-shower scene, Kristoffer King in a blowjob scene, and a taunting, seducing Charles Delgado opening-and-closing the door while breaking the 4th wall to jeer at his audience - as the film comes to its conclusion).

Andrew Miguel

Aside from the aforementioned actors, Anita Linda gives a marvelous cameo as the revenue-hungry film producer. The scene where she "tutors" her actors how to promote their film (a really tacky, albeit side-splitting appeal for sympathy) is quite instructive and enthralling. Now that is what satire is all about in the hands of a veteran actress like Ms. Linda. Jaycee Parker is thrown in as an inconsequential straight-men's draw. She plays Andrew's invalid sister, dubiously written as an apocryphal character. And is it me or does Guio Munoz look untidy? Must be the hair - or his nail bed? The audition scenes range from crass to hilarious, men in briefs delivering common banal lines that bear words like, "Nadarang ako. Tao lang!" I get shivers every time they get repeated. This film isn't as bad as director Cleo Paglinawan's "S.R.O." but this, really, is like saying, maroon is better than fuchsia, or white is preferable from off-white. Get my drift?

Paolo Rivero and Charles Delgado

Guio Munoz

Andrew Miguel, Guio Munoz, Angelo Cruz and Jeremy Ian (the latter two are hardly seen in the film).

Jeff Luna Plows The Barren Field in "Araro"

I refuse to be director Alejandro Bong Ramos' trumpet-blower. He doesn't get points from me for admitting the obvious - that all he intends to deliver are "skin flicks" which he still outdated calls "bold" as though we're still in the 80's. These days, we appropriately call them sex exploitation movies which has gotten synonymous with "indie movies" or "gay movies". These terms jubilantly interchange.

In "Araro" (Plow), a farming couple Andoy (Paolo Rivero) and Elena (hopelessly homely Lorraine Lopez) comes home to find a stranger resting inside their shanty. Steve (Jeff Luna) shakes their seemingly harmonious marital existence. Though initially suspicious of the new kid in town, they soon invite him to stay over after Andoy injures himself while farming his rice fields. "Dumito ka muna at tumulong; babayaran kita," offers Andoy, despite his wife's objections. Something in the soft spoken young man intrigues the couple. His presence will eventually rock the boat, what with Steve seductively taking skinny dips by the river. But just when you thought he would run away with Elena, we suddenly find him locking lips with Andoy! How convenient, right?

Well, this ends into a menage a trois that's too unseductive to watch, it was like reading a by-the-number tutorial on sexual orgy sans the requisite passion. Fine, they can then live happily ever after. But then there's that silly subplot about Steve's past (spoilers ahead: he escapes a defensive murder drama from the city) which is bound to catch up with our strapping hunk of a man!

The narrative is rather derivative we don't even have to look far for reference. Jeff Luna's recent release, the straight-to-video "Darang" also tells of an almost similar tale. But this film teeters into legitimacy - but not quite. First, camera work is sparklingly crystal, much like Ramos' other work, "Butas". He has the eye for such visuals which is sad as he has basically surrendered into being a skin flick director. A local palayan (rice field) has never looked this scenic and lovely in the green plains of Laur, Nueva Ecija. Some scenes were just too pretty they looked like gentle brush strokes. Another plus point is the way the narrative is moved by dialogue-free scenes. This is not a "talkative" movie, and it actually works for the story. It has successfully done away with too complicated "explanations" by being "silent". Paolo Rivero carries the performance grade here. His naturally calm presence reeks of an underlying pathos that when he cries for fear of being abandoned, his uhog drips and his heart breaks into tiny little pieces.

Jeff Luna, this season's it-man oozes with enough testosterone charm, it sometimes suffices that he just stands without opening his mouth. When he does, all possibilities of lewd fantasizing drop down exponentially. Much like his earlier movies, - "Libido", "Darang", "Chub Chaser", his straight-to-video sex flicks ("Summer Boys", a walk-on in "Here Comes the Bride", etc.) - he speaks with a doze-inviting, emotionally-hollow monotone, delivering his lines like he was reading from the page of a script. His face is a blank, which only changes when he closes his eyes to depict the emotions of a self-pleasuring gentleman - which he seems to do in every movie he does! Yet, even his masturbation scenes are hardly believable. Someone has to teach Jeff how to deliver emotions on screen fast! Half a dozen movies after and you're still a ham, Jeff? What gives? Otherwise, what becomes of his strong presence but being reduced to a mere phallic symbol! As for the only lady in the film, Lorraine Lopez, you somehow wonder what the makers see in her! Her mere presence is a mystery - and we refuse to further talk about her!

The director is fond of shots that inspire a voyeur; his camera floats on ceiling walls, doors ajar, holes in the wall. He isn't quite over "Butas". And it is obvious that he loves to highlight his actors in their several states of undress, Jeff Luna especially (check out his swimming scenes as he floats and flips over river waters, you'd notice a mushroom - LOL).

A lot of the arrogant indie film directors should learn Visuals 101 from Mr. Ramos. Chances are, it's really a matter of economics and how Mr. Ramos can afford to use a high definition video camera, while the others are content with their visual mediocrity. As for his ambition to wallow in skin flick heavens, what a waste! An admission of his story-telling limitation.

Isn't that sad?

Jeff Luna's testosterone charm and emotionally-hollow monotones.

Note:

Please read our featured post on Cinema Bravo and why Web Criticism isn't always about good and reliable writing:
- http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html

SpEd Hearts - Confusion in the Storytelling

Ciara Sotto is so lame!

In the indie movie “SpEd Hearts”, she sleepwalks and wears a morose expression in all of her scenes, you wouldn’t know if she was happy or sad, angry or ecstatic. Even during her confrontation scene with her “father”, she was in a state of constant malaise. I wanted to take her shoulders and shake her to consciousness – just to take her out of her catatonia!

Rina (Ciara Sotto) teaches for a special education class where children with special needs are served. When Jonathan (Paolo Rivero – again!) comes into the picture, Rina leaves her petulant dad who is against her relationship with her under achieving beau. Rina fights for and joins Jonathan, along with her bastard child. But Rina soon learns that life with Jonathan isn’t what she thought it would be. So she leaves him, and eventually decides to trade her “fulfilling” daytime job for the uncertainties of far Canada.

A significant side story is that of a married gay man (Crisaldo Pablo’s comic flower Chamyto Aguedan, simply billed “Chamyto”) who works with Rina and tends to his family (a wife and - heavens! – 6 children). But on the side, he keeps a male lover. All was well until the plot thickened! Then the movie’s editor suddenly jumped off the building as the story turned into a mishmash of badly executed comic situations that was really just an exposition of “how gay daddy was caught by son and relatives”! With Chamyto comically playing dad, didn’t anyone see that a mile away? If you had half a brain, you would know Chamyto’s sexual preference, even if you closed your eyes or were in Saturn. Unless you are a moron, of course! This narrative string, obviously misplaced, was played out in redundant scenes that highlighted how confused or unfocused the storyteller was – director Felbert P. Go (“Hikbi”).

Once again, my P161 swirled down the drain! The money that my dad gave me turned into shit! Being a consumer, shall I have the honor to complain to the Consumer’s Board for craps disguised as artistic products?

On a personal note, I am not really sure if my friend Iya is still talking to me after taking her to two successive horrible indies in 2 weeks. Far as I know, she got so alarmingly silent as we drove out of Galleria parking! If this movie will cost me my friendship with a childhood friend, then I would demand the heads of Ciara, Chamyto and the director on a pink platter! I am so sorry, Iyaya! I promise never to insist again on another garbage next time we go out to watch! I'll even pay for our next movie, swear I will!

If we are indeed experiencing the New Golden Age of Philippine Cinema through Digital Indies, why is commercial cinema being bombarded with the best of the worst movies week after week after week? If this is “renaissance”, oh please please please – stay dead!

Paolo Rivero in another indie!