Asiong Salonga Story - The Land of Posturing Potbellied Gangsters

There are valid reasons why biopics are produced, the most common of which is to tell the story of a popular figure; the “real” one that explains his origin and motivations. Another is to demystify a persona steeped with preconceived notions; strip him out of hearsays and hyperbole; venture on this personality’s charm or notoriety, and understand why such personality fascinates the public.

One of these personalities was Nicasio “Asiong” Salonga.

Asiong Salonga (Jorge Estregan aka ER Ejercito) is an iniquitous mobster boss from Tondo who, in the late 40’s, lived a fast life with plenty of guns and a coterie of women. He was clannish and patriarchal of his townmates, yet implacable towards his enemies. People either feared or admired him. When he married Fidela (Carla Abellana), his grasp of the criminal underground burgeoned further. It helped that his brother, Domeng Salonga (Philip Salvador) was a well decorated, albeit highly regarded police officer. He became so influential that even political parties (he’s pro-Liberal Party) would compete for his good graces and ultimately, his endorsement. Asiong was also generous to the poor, earning him the moniker “Robinhood ng Tondo”.

But not everyone was pleased with Asiong’s rise. His main nemesis constituted a group of miscreants headed by Totoy Golem (John Regala) who wanted him “discarded” for good. After a series of retaliatory shootouts, Asiong was put in prison where he befriended a cellblock mayor (Jay Manalo) who helped hatch an escape. Unfortunately for Asiong, he was imprudent. He got caught. Not long after this, he was propositioned to foil an assassination plot against a local Liberal Party standard bearer who carried enough political heft to give him a parole.

Asiong reclaims his hold in the underworld mob, but had to contend with betrayals within his men. He learned of Erning’s (Baron Geisler) abusive streak. One day, Golem invites him for a conciliatory meeting, unaware that Erning has “jumped ship”. Would Asiong survive the plot?

Filmed in glorious black and white, this ambitious opus has the visual savvy reminiscent of Wong Kar Wai and vestiges of Jonathan Sela’s eye-popping camera work in “Max Payne”. But “Manila Kingpin – The Asiong Salonga Story”, a film not directed by Tikoy Aguiluz, is all gloss and cinematic posturing. The story is pretty trite and uninsightful. It offers a plot that might as well be another henchman’s story. There’s nothing distinct about its narrative. More importantly, it forgot to tell the story behind what we already know: Which family reared him? What made him who he became? We needed to understand the genesis of a mobster – but this wasn’t on the cinematic plate. Was it a problem explained by the very public altercation between director Tikoy Aguiluz (who did not direct this movie, let me be very clear) and the Laguna governor and executive producer? I doubt.

Whether it is Aguiluz’s 115 minute cut or Ejercito’s 150 minute copy, it is obvious that the problem is in the substance, casting and cinematic vision. Or should I offer it to be re-titled to “The Land of the Potbellied Gangsters”? The movie purports to re-introduce Asiong Salonga to a generation who has no idea of his name or nature. It intended to bring back the old-fashioned “Pinoy action movie” which has, thankfully, died a natural death. It intended to make Jorge Estregan a legitimate action figure and dramatic actor in one sweep, something that he never succeeded in his younger days. He was, after all, a starlet, riding in the coattails of his family’s ear-friendly surname. Did anyone remember him in films like “Mga Paru-parung Buking”, “Boy Tornado”, “Kumander Dante”, “Pepeng Kuryente”, and “Gapos Gang”? Didn't think so. Does anyone remember the governor star in a film called “Asiong Salonga: Hari ng Tondo” in 1990 (directed by Armando de Guzman, Jr.)? Why would you remake something that didn’t work the first time? The indomitable human spirit is sometimes nothing but a meaningless folly.

Jorge Estregan doesn't possess the charisma of Joseph Estrada or Rudy Fernandez who both starred as Asiong Salonga in 1961 and 1978 (Title: “Salonga”, co-starring his father, George Estregan) respectively. His signature expression is that of a scowl, and when he’s angry, it turns into a devilish gaze (“nanlilisik ang mga mata”), something that isn’t too different from “the scowl”. Even his declarative sentences feel like constipated ramblings. His foray into real emotions provokes somnolence. Carla Abellana is luminous, but watching her lock lips with the governor inspires goose bumps; it’s a gag-inducing sight. It’s like mixing turpentine and milk, then taking a swig. It’s a potently visceral sensation.

The film, conceived as an action opus, is populated by actors sporting Santa Claus bellies. Seasonal requirement, perhaps? But a genre has to follow a physical criteria to be believable – or did the gangsters of old Tondo really sport such watermelon guts? If these were to find itself in international exhibits, wouldn’t the audience question the use of such unfit actors for a slambang action? We should get Sharon Cuneta for a new "Darna" film, if that's the case.

Others in the cast are wasted in Ejercito’s shadow: Baron Geisler (who’s as nefarious here as his public persona), Amay Bisaya, Joko Diaz, Ronnie Lazaro, Yul Servo, Roldan Aquino, Ping Medina, John Regala, Philip Salvador, Dennis Padilla, Jay Manalo, et.al. The ladies are mere decorative habitues: Carla Abellana, JC Parker, Paloma and the beautiful Valerie Concepcion whose sophistication belonged to that era. Even Asiong explained the role of women in that era: “Dapat lagi kang maganda, malambing, at hintayin mo lang ang pag uwi ko.” Ouch. Don’t we have the right to impose the same? That he should look handsome, at least – if we’re to do what he said?

In one slow motion scene, Asiong charges into a compound filled with his nemesis, each one carrying heavy artillery. In the succeeding gun fight, he decimates 3 dozen armed thugs without even ducking or running for cover. He just took his stride forward, stood unflinchingly stiff, and fired his gun while bullets crossed his path. He came out unharmed. Talk about spectacular, right? Maybe he possessed the powers of Pepeng Agimat or Kumander Inggo?

DISPLACED MUSIC

In another scene, Asiong takes his wife Fidela to a club where we find the handsome Ely Buendia laboriously singing a “kundiman” – a song called “La Paloma”. This scene felt misplaced because haranas and kundimans required full-bodied voices a la Diomedes Maturan, while the iconic Buendia has thin pipes and nasal singing. You do wonder about such artistic choices.

The best part of the movie is the posturing of our protagonist. He stares like he’s ready to devour. He sports an attitude that belies calm and composure. If its attitude we want, its attitude we get… with the pot belly, of course! And not much else.

Totoy Golem (Regala) isn't happy with the competition.


Baron Geisler is Erning


Carla Abellana and Jorge Esregan


Compare Asiong Salonga and a Wong Kar Wai flick (with Tony Leung)


Mark Wahlberg as "Max Payne"


Faces of Asiong: Joseph Estrada and Rudy Fernandez

Yesterday, Today, Tomorrow – Painfully Bad, Excruciatingly Schmaltzy

Mariel (Maricel Soriano) rules the family-owned television network with steel fist and feral stance. It’s an aspect of her life she has absolute control of. Otherwise, her private life is in shambles. Her only daughter Eunice (Eula Caballero) favors her stepmother Charlotte (Carla Abellana) over her. Her former husband Garry (Gabby Concepcion) lives in marital bliss with new wife Charlotte. Meanwhile, her brother Jacob (Jericho Rosales) helps out in the network, but seems preoccupied with his domestic affairs: his wife Lorie (Lovi Poe) despises spending most of her time with their baby boy, and occasionally steals moments to sing for her band. The family patriarch (Ronaldo Valdez) – a paraplegic - oversees his business empire with his intermittent presence, while his second wife Agnes (Agot Isidro) has an extra marital affair with her personal trainer Derek (Dennis Trillo). Celine (Solenn Heusaff), Mariel’s half sister is patiently “training” under the wings of her acid-tongued half sister. She is dismissive of her boyfriend Vince’s (Paulo Avelino) constant presence, and harbors an attraction with Derek.

One day, a powerful earthquake bears sweeping repercussion to the tedium of their lives.

HIGH STRUNG

With unbelievable schmaltz and a persistently high-strung turn of events that play out like livid strokes of slap-happy melodrama, Jun Lana’s “Yesterday Today Tomorrow” once again displays Lana’s fixation to the 80’s flavored drama. In fact, I didn’t realize this was Lana’s work until I curiously found some blatant semblance to the recently shown “My Neighbor’s Wife”. It may in fact be a narrative extension of the latter. Even the actors in “My Neighbor’s Wife” – Dennis Trillo, Lovi Poe and Carla Abellana – play similar character arc and motivations.

WHAT HAPPENED, MARICEL?

What’s worse: Lana has managed to singularly destroy Maricel Soriano’s spotless reputation as an insightful, albeit superior caliber actress. What happened to Maricel Soriano? There never was a time that La Soriano was ever mediocre in any of her previous film projects: drama, comedy, action, even dance/musical. She could run thespic rings around her former rival Sharon Cuneta who, in her earlier years, coasted solely on charm and media hype. But for the first time, I was surprised to find Ms. Soriano heavy handed and misdirected. This was a Soriano that’s graceless, shrill and mediocre. Her one-note performance is baffling. What has time done to one of the most versatile actresses this business has ever produced?

CACOPHONOUS

Lovi Poe and Carla Abellana aren’t bad, but what do you say about a performance that mimics their own portrayal in a different film (“My Neighbor’s Wife”)? You don't get a pat on the back for repeating yourself! I’d have to say that in confrontation scenes involving Maricel Soriano and Carla Abellana, the latter gracefully stood her ground against the formidable Soriano. In fact, it actually emphasized Abellana’s inherent gift because she made Soriano look cacophonous and roughly discordant in temperament. That isn’t saying Abellana is worthy of an award. In this flick, the only commendable performers are Dennis Trillo, Jericho Rosales, and surprisingly Solenn Heusaff!

Trillo depicts his kept-boy character with empathy. He is onerous to decipher. In fact, he delves into Derek in multiple levels of execution; he paints Derek’s intentions as a gray area. That’s no mean feat, considering how Lana wrote his characters. Rosales has always been a sensitive performer. His sincere depiction keeps his and Lovi’s story viable. I only visualize a problem whenever he starts enunciating in English (like when he delivered his child’s eulogy). Solenn Heusaff is an amazing find. She is very comfortable in her role. You feel when she winces after getting dressed down by her half sister in front of others, or when she’s turning his boyfriend away, or when she flirts with her mother’s personal trainer. Heusaff is an honest performer, and she delves into her scenes with no emotive excesses. Her debacle? She speaks rather briskly. On stage, as in cinema, emphasis of text takes priority. Your words should resonate, regardless of how brief or simple they are.

IMPLAUSIBLE

Jun Lana is a notable playwright. He is the youngest member of the Palanca Hall of Fame in 2006, winning 11 of them previously. But his film work as a director is too far removed from his excellent writing. In fact, he lingers from too much caterwauling and peppers his narrative with implausible coincidences. Furthermore, the most preposterous “deus ex machina” is intermittently laid out like freebies to move his narratives. How many times did Celine catch his mother in her personal trainer’s flat? Isn’t once enough? When Charlotte suddenly finds Mariel nauseated, there was a suggestive glance exchanged between the wife and the ex-wife, you’d think Charlotte would start getting suspicious, but she didn’t. Whenever a scene is expected to shift its plot, the music swells – you’d think the sky's going to start falling anytime.

Lana is ill at ease being a megman. And if I were to be very blunt about it, he is wanting of talent where visual story telling is concerned. Stick to what you do best, Mr. Lana, and leave film direction to those who know what they’re doing.

Otherwise, we’re all stuck in strung-out melodramas that make bad actresses out of good ones – like Maricel Soriano. It is such a revolting comeback vehicle for someone of Soriano's stature. Isn't that sad?

Lots of Love and Otherwise - "Ikaw ang Pag Ibig" & "My Neighbor's Wife"

Cinema can be categorized by way of its influence to its audience. There is one that uplifts the spirit, summons hope and encourages a positive outlook. At the other end of the spectrum is the type that provides the opposite and depicts the world as a realist’s nightmare. But we all know that despite difficulties, life isn’t shrouded by mere bleak scenarios. We live in a realm that’s somewhere in between. And we try to live by these crutches.

We see ourselves in Vangie (Ina Feleo) who navigates her dysfunctional world with a sense of detachment. She is a film editor, has a son from Joey (Jomari Yllana), an Obstetrician. But though they have a harmonious, even amorous, relationship, Vangie can’t commit, and rebuffs all refrains of a matrimonial proposal. What gives?

One day, Vangie learns that his older brother Johnny (Marvin Agustin), a hard working priest serving 12 barrios in a remote rural area, has fallen ill to leukemia, Acute Myeloid Leukemia (AML) to be exact; a cancer characterized by rapid growth of abnormal white blood cells that accumulate in the bone marrow and interfere in the production of normal blood cells. It is the most common form of leukemia afflicting adults, and is mostly fatal. This has brought her family together: a bitter mother Chato (Shamaine Centenera) who’s still sporting a heartbreak from her husband Mario’s (Noni Buencamino) infidelity. Mario was a Middle East worker but has since been retrenched and currently unemployed.

Conditions get tougher when Johnny’s Chemotherapy hasn’t translated into remissions. They had to proceed to the next step, i.e. Bone Marrow Transplant, a procedure that petrifies Vangie, his brother’s perfect donor. But that wasn’t even the least of their worries, what with fast dwindling finances. They had to eventually sell their house and Vangie’s car.

At some point, we feel their journey to be disquieting, but the fact is, we don’t give up on family; for who else overcomes these encumbrances than the ties that bind. We do have to emphasize that the film highlights the family’s devotion to the miraculous Our Lady of Penafrancia of Bicol whom the devotees lovingly refer to as “Ina”, making Ina Feleo’s star turn nothing short of serendipitous. We earlier had reservations with Ina Feleo, but she acquits herself tremendously as she steers her character in rich layers of nuances. She is at once tough and vulnerable, disaffiliate and forbearing, and on the whole, a luminous character that is as beautifully written as it is depicted.

On the whole, we find hope in the dysfunctionality of this family. We find hope in the simple fact that despite our imperfections, it’s alright to be human; it’s alright to be weak and fall as long as we learn to get up and start again; it’s alright to believe in the love and power of an omnipresent entity. Faith, indeed, never encumbers, but uplifts. And the message of director Marilou Diaz Abaya’s domestic drama, “Ikaw Ang Pag-ibig” eventually conquers rational, albeit sentient skepticism.

At the opposite side of the spectrum is Jun Lana’s “My Neighbor’s Wife” which parades a coterie of highflying characters. We have a med rep (Lovi Poe) who couldn’t keep away from the finer things in life (Does she need medication?); the medicine graduate (Dennis Trillo) who prefers fixing cars than taking the board exam (Go figure); a womanizing cad (Jake Cuenca) who prefers other women over his obviously more beautiful wife (Was he blind or cerebrally challenged?); a wife (Carla Abellana) who succumbs to the seduction of an underachieving and droll lover (Was she desperate or just plain moronic?)!

Lovi Poe once again enveigles an insightful performance that belies the stark mediocrity of the material, and Carla Abellana doesn’t slack either, but there’s not much merit that the production offers. The changing-partners strain is too laboriously unexciting, I had to control myself from walking out of the cinema from fatal boredom. Jake Cuenca, for example, is as shallow as the muscle-bound buttocks he proudly showed off. When he's given the limelight for a spiel: "Muntik na kayong mawala sa akin. Di ko kayang mawala kayo sa akin. Magbabago na ako. Give me a chance." - we were frozen stiff. He had the emotive capacity of an igneous rock! Sincerity isn’t among Cuenca’s strong traits. As for Trillo, where has all the promise gone? We used to place him in high regard. Unfortunately, he has settled into a passive performer with docile affectations. Trillo bores us as much as Cuenca repels with the latters elementary effort.

The film tries to make light of the contrivances by using smart alecky lines that feel like circus acts: "Hindi ako magaling magluto pero magaling ako sa kama. (I'm not good in the kitchen, but great in bed.) I'm worth it and I deserve better." They even find delight in using something as banal as "kangkangan" it reminds me of Seiko Films' "Itlog", "Kangkong", "Bakat", "Tikim", "Arayyy!", "Patikim ng Pinya", "Linggo Lang ang Pahinga" and similar masterpieces. Classy, right?

The conceit in the film lies in the epilogue articulating that everything that transpired in the lives of Bullet (Jake), Jasmine (Carla), Aaron (Trillo) and Charlene (Lovi) was a product of Trillo's vengeful ministrations. This coming from someone who studied medicine for 10 years only to end up playing automechanic. And he wasn't even good at it. Brilliant, right? LOL. We totally get the twisty detour. Such incandescent idea. Bravo!

With a narrative that feels like homage to the long-winded melodramas of the 80’s and the early 90’s, “My Neighbor’s Wife” is a picture of moral defeatism. These are despicable individuals with absolutely no hint of character redemption. Scriptwriter and director Jun Lana fields characters that are so unrelatable and unsympathetic we leave the cinema wishing that they all conflagrate to a crisp burn - in hell.

2010's Best Performances

Best performances in films are typified by an actor's ability to lend sincerity and truth to a given character. They transcend and go beyond the limitations of a written character, making them come to life. They also become vessels of insight; they mirror lives and allow us to "feel" and sympathize for them; to frighten or amuse us, allure us with the power of their emotion. From 73 commercially released movies from January 1 to December 31, 2010, here is our shortlist of those who deserve our standing ovation.

These are 2010's Best Performances:

Best Performance by an Actor in a Lead Role:

1. Ronnie Lazaro as the cantankerous ex-convict with a soft heart for damsels in distress in "Ishmael"

2. John Lloyd Cruz as Allan, the lonely architect who falls for a girl who writes on stones in "Miss You Like Crazy"

Ronnie Lazaro & John Lloyd Cruz

3. Sid Lucero as Jun, the ex-seminarian-cum-activist who figures in a clandestine affair with Errol (Cogie Domingo), a married lawyer in the over-written and sappy "Muli".

4. Joey Paras as Wilson, a film production assistant, who faces judicial reproach when he misplaces a rented tapestry used during a TV commercial shoot in "Last Supper No. 3"

Sid Lucero & Joey Paras

5. Pen Medina as Lolo Pol, the aging inmate forced to do his last assassination "job" to avert threats against his daughter's life in "Layang Bilanggo"

6. Coco Martin as the traveling journalist who follows Noynoy Aquino's campaign trail in "Noy"

Pen Medina & Coco Martin

Our best performance by an actor in a lead role: Sid Lucero is the best thing in the otherwise mediocre gay romance, "Muli". In the movie, Lucero is self assured, a packet of smoldering passion. His intensity overflows; his longing looks towards the self-absorbed Errol quite palpable. You'd wish someone would look at you that way!

Here are the year's best performance by an actress in a lead role:

1. Bea Alonzo as the bitter daughter Dianne who's ambivalent of her father's homecoming 10 years after he abandoned his family to live with his mistress in the predictable "Sa Yo Lamang"

2. Jennylyn Mercado as the spoiled heiress who, in the 1920s, from her New York studies, comes home to Isabela in "Rosario"

Bea Alonzo & Jennylyn Mercado

3. Frenchescka Farr as Amelia, the poverty-stricken Ilocano lass who becomes royal nanny in an emirate household in the musical-adventure "Emir". Farr is emotionally adroit and vocally nimble, without a trace of excesses. She is the perfect heroine that embodies the strong Filipina! It's hard to picture any other actresses play Amelia. Farr lights up the screen like a newly crowned cinema royalty.

4. Angelica Panganiban is simply a sight to behold as Stephanie, the blushing bride who gloriously transforms into a "flaming fairy" in "Here Comes The Bride"

Frenchescka Farr & Angelica Panganiban

5. Carla Abellana as the perturbed tutor Diane who unearths several disturbing facts other than her wards' photosensitivity in Shake, Rattle & Roll 12's "Punerarya" segment. A feisty, empathetic heroine - and a "star" is truly born!

6. Rita Avila as Soledad, the middle aged housewife who figures in an illicit tryst with a younger man one chatty night in Boracay in “Magdamag”.

Our Best Actress: Hands down and no contest - Bea Alonzo is a virtual force of nature as Dianne in "Sa Yo Lamang"! She elevates the triteness of the pedestrian narrative, conveying herself into several levels of emotional intensity. I am telling you, guys, give Bea the role of a stone and she will make us believe it! Ms. Alonzo is truly this generation's most insightful actress! And I hope Star Cinema remembers this!

Carla Abellana & Rita Avila

Best Performance by an Actor in a Supporting Role:

1. Dolphy as Francisco who tells the sprawling saga of his grandmother in "Rosario"

2. Ricky Davao as Miguel, the scurrilous and slimy landlord in "Rosario"

Dolphy & Ricky Davao

3. Enchong Dee as the conflicted James, an honor student who resorts to cheating, in "Sa Yo Lamang"

4. Luis Manzano as Sarah Geronimo's suitor in the product-peddling, commercial-heavy "Hating Kapatid". Manzano's self deprecating scenes are a joy to behold, I couldn't help myself from laughing so hard. Remember that scene where Cecil (Sarah Geronimo) pursues Luis - on foot! - as she tries to apologize all the way from North Edsa to Galleria? Doing comedy is never an easy task.

Enchong Dee & Luis Manzano

5. Jeffrey Quizon as the closeted funeral parlor attendant who joins a grieving family's trip to secure the corpse of a beloved daughter in "Two Funerals"

6. Marc Abaya as Pido, the ravenous cult leader in the visually delectable (in fact, 2010's most gorgeous film) "Dagim"

Our Best Actor in a Supporting Role: Dolphy as Francisco, the intuitive storyteller who mines his limited scenes with sincerity and heartfelt simplicity in "Rosario". In the hands of a lesser actor, his stories could be easily watered down as hearsay. And Mr. Manny Pangilinan wouldn't have produced this lavish tale. :->

Jeffrey Quizon & Marc Abaya

Best Performance by an Actress in a Supporting Role:

1. Jodi Sta. Maria as the unwed mother Aylynn who feels naturally conflicted when her old paramour Wesley (Sam Milby) comes home in the Ozu-styled "Third World Happy"

2. Kalila Aguilos as the long suffering Tersing, a maid in a royal household, who's eternally cash-strapped and under-appreciated in "Emir". Check out her duet ("O Maliwanag Na Buwan") with Amelia (Farr).

Jodi Sta. Maria & Kalila Aguilos

3. Eugene Domingo as Rowena, Ina's best friend in the riotous "Ang Tanging Ina Mo...Last Na 'To", a film that somehow reminds you of the grandeur of Ms. Domingo's comedic talent!

4. Odette Khan as Manang Ludya, one of the caretakers at the funeral parlor in Shake, Rattle & Roll 12's Punerarya episode. She navigated through the segment almost without a line, but her presence is so powerful, you remember her serrated fangs way after leaving the cinema.

Our Best Actress in a Supporting Role: Jodi Sta. Maria in "Third World Happy". Ms. Sta. Maria has truly evolved into one of the country's most prolific actresses. Her short scenes with Sam Milby (the first time her character sees her ex-boyfriend - after 12 long years) is a testament to the newfound thespic power of this actress.

Eugene Domingo & Odette Khan

MUSICAL THEMES

We would like to mention the amazing songs worthy of commendation from some of 2010's films: the anthemic "Ba't Ako Narito" sang by Frenchescka Farr ("Emir"), and Toni Gonzaga's perfectly frolicky, hearth-warming "Mahal Kasi Kita" from the often times gratifying - scrumptious "My Amnesia Girl".

Up next: 2010's Worst Films and Performances