Diane Ventura's TheRapist - Living with the Other

After being accused of rape, Alex (Marco Morales) attends a psychotherapy session with a psychiatrist (Cherie Gil) who listens to her client’s impassioned defense. He recalls the incident that transpired. He met Shar, the alleged victim, at a frat party. But a few drinks later, Alex is in a bedroom with Shar. Things happened. 

 Alex insists it was consensual, and bemoans this double standard against men. The shrink concedes and says it is indeed “discriminatory and prejudiced”. Before long, Alex is assured by the doctor - “You’re not a bad person.”

She opens up saying that her profession actually contributes to the abuse because “probing into the psyche of another person is a (form of) violation.” The session ends. But as Alex walks out of the room, we realize that Alex was never in the room. Door closes, and we see a sign that reads: "Dr. Alex Laney."

"TheRapist", as titles go, is a clever word play descriptive of the theme. Director Diane Ventura's psychological drama indubitably justifies how a good story doesn’t require protracted screen time to tell a thought-provoking tale. Like her main feature "Mulat", she tackles urgent psychological issues; i.e. schizophrenia and psychological abuse. Both Gil and Morales shine in this provocative short, a fully realized cinematic achievement.

Marco Morales, Cherie Gil, and director Diane Ventura

Marco invites you to his boudoir.

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


#Therapist   #cheriegil   #marcomorales

Altarejos' "Laruang Lalake" - Desperation & the Pink Film Industry

The Pink Film Industry that we know today owes a lot of its existence - and notoriety - from three exponents: Crisaldo Pablo for "jumpstarting" it (though this is debatable); Joselito Altarejos who "revolutionized " it (when "Ang Lalaki Sa Parola" became such a money-making success, every indie film maker were green with envy); and Brillante Mendoza who legitimized it ("Masahista", "Pantasya") by winning prestigious awards abroad.

Fortunately for Mendoza, he was able to crossover to the "respectable" genre. Now, he's regarded as a serious filmmaker. While director Joselito Altarejos is clearly a superior craftsman, his works tend to alienate a certain population of the movie-going public as he pushes the boundaries of what's acceptable. Occasionally, he vacillates to the realm of being exploitative which is sad given his talent! And the obvious way out of this predicament is to tackle stories far removed from the genre he is known for. Unless he does this, Altarejos shall be pigeon-holed into Pink Film limbo. And that would be such a waste!

But Altarejos has been making a conscious stride to veer away from this. There were hints of such struggle in "Little Boy, Big Boy", but that was a weak movie hobbled by poor casting. Then there's "Pink Halo Halo" which failed to make it in commercial cinemas. If Altarejos wants to be taken seriously, I'd say he's in the right direction. Unfortunately, this won't make him oddles of money the way "Ang Lalaki sa Parola", "Ang Lihim ni Antonio" or "Ang Laro sa Buhay ni Juan" did! But if it's longevity and legitimacy he's after, the financial truths behind his lofty ideals have to be accepted.

"Laruang Lalake" feels like a homage to Crisaldo Pablo and the Pink Film-generating industry. In fact, Pablo is cast in the film as Eli, and his homme du jour - Arjay Carreon - is uprooted from Pablo's mediocre Queeriosity flicks to star in a more legitimate project worthy of his movie star looks.

If you've seen Cleo Paglinawan's "Indie Boys" shown a few weeks back, then watching "Laruang Lalake" would feel like dejavu. It follows an independent film outfit's making of a gay-oriented movie. The story shifts its point of view from 18 year old Samuel Dionesio (Carreon) who's desperate to become a movie star - to director Wilfredo Ligan (Richard Quan), another desperate soul on the brink of bankruptcy. Samuel joins a casting audition for Wilfredo's make-or-break film, as we bear witness to a general atmosphere of despondency.

There is palpable unease as each wanna-be actor is ushered on stage; the experience couldn't be less demeaning than a consented molestation. Before the audition wraps up, Samuel is cast alongside PJ Miranda (Marco Morales), a charismatic actor who's back from hiatus. The narrative then jumps into vignettes of the actual film making: "macho dancing" scenes with tacky choreography. When the film is finally submitted to the MTRCB for review, the narrative shifts its focus by satirizing the follies of this outdated censors body. Of course, it also serves as an avenue to spotlight what's perceived as cinematic taboos: masturbation, an "aroused genitalia" and sodomy.

When Wilfredo's film eventually gets an X-rating, we see him dejected and flummoxed. After all, his mortgage rests on the public exhibition of his film. But he seems to have forgotten the alternate avenues to make money out of it: i.e. get his film shown in CCP or U.P. Theater where they are pretentiously served up as a "work of art" instead of the trash that they really are! Then there's the lucrative video release! Heck, these are even made available online, through amazon and other websites.

Richard Quan gives "Laruang Lalake" a degree of pertinence, and Arjay Carreon as Samuel finally becomes a "real movie star"! Mark Fabillar plays the production assistant who's sympathetic to Samuel's needs. He registers well on screen though we catch moments of "softness". He would make a great protagonist in future Altarejos films (he did well in "Pink Halo Halo").

There were a few peekaboos that Altarejos had to offer as "gifts" for his pink audience: one from Carreon, another from Morales, and one from an auditionee. These were "bonuses" that reminded us that despite appearances, "Laruang Lalake" is still meant for a select audience.

While Altarejos is in search of a more universal audience - a more mainstream patron, this I'm afraid will elude him if he keeps dispensing feckless "bonuses" for his select crowd of admirers.

Far from Cabanatuan, Samuel (Arjay Carreon) shuttles between exotic dancing and the occasional film work.

Marco Morales is PJ Miranda, a former actor who makes his comeback after several years of hiatus in Macau.

Pagnanasa – When Telling A Story is Randomly Shooting Blanks

Peeling a banana or chopping an onion is an easier task to enjoy than investing a degree of empathy on the narrative being told in the movie “Pagnanasa” (Desire).

The story is told from the point of view of Carlos (Charles Delgado) who opens the movie with a lay in the hay. Lovely ass, notwithstanding, he rationalizes with a cinematic apology of his sexual orientation. He is gay. Then his story unfolds further.

Carlos dreams of the better life in the big city. When he lands a job (as a resort waiter), it was his way out. So he bids his mother (Dexter Doria) goodbye. In Manila, aside from waiting tables, he hooks up with predatory gay men for their hand outs. One day, he meets Nick (Marco Morales), after a chance encounter at a sari sari store (bwahaha). In the same first encounter, Nick embraces him like there’s no tomorrow – and they supposedly fall in love. But something was awkward, and despite the undeniable connection, they can’t seem to consummate their affair. “Bakit nahihirapan tayong magmahalan? Ang aking nararamdaman ay walang halong pagnanasa,” explains Nick! Get mo?

Enter Rosanna (Sofia Lee), which Carlos describes as “isang matapang na sundalo ng kahirapan”. She is uncouth and vulgar – but how else does a street walker carry herself, right? She meets Carlos and gets infatuated with the nubile boy, she even offers herself “for free”. After being rejected for her advances, she feels dejected. To make matters worse, she gets thrown out of her room for not having paid her rent in the last 6 months. When all hope is lost, she turns to ending a life in shambles. Just when she was to jump off the bridge, Nick rescues the damsel and takes her home with him – and Carlos. They share dinner as though it was just another ordinary day. “Ah, siya yung babaeng gusting kuman__t sa yo?” asks Nick, then prods further, “Pagbigyan mo na!” And if that light banter was intended for someone who just failed an attempted suicide, we should hand Nick a gold medal for his sensitivity, right?

While the trio enjoys the ensuing hilarity of the matter, Carlos suddenly comes up with a brilliant idea. He wants to visit his mother, and take Nick and Rosie along with him for a provincial sojourn. While relaying each of their sob stories, a secret unfolds. Spoilers here! Both Nick and Rosie were given away as children by their birth mother! And by great serendipitous design, fate gathers them in the presence of their real mother who is Carlos' mother as well! So over a loud canned music and a blabbering narration, 4 absolutely vapid souls hug each other for a tearful and heart wrenching reunion! Bravo!

Nubile and twinkish Charles Delgado

Now I have to commend the gall of the film’s director for braving the unknown – for his masterful direction the caliber of a drugged out parrot, and for his dwindling sense of direction. At several instances, I was just perturbed by his aimless story telling! Let’s take for example the protracted scene where Rosanna is narrating her own sob story to Carlos. She was sold to an abusive couple who turned her a muchacha. As soon as she grew melon boobs, her uncle (John Apacible) started showing interest. At one point, he grabs her boobs while she was fixing the bed. When she screams for help, her auntie (Karla Estrada) dismisses it as though he was caught picking his nose. As though washing his hand would suffice to clean up the mess. In another scene, she wakes up with her uncle fondling her body. In yet another scene much later, her “tito” was caught pleasuring himself as he peeps through the bathroom window – and Rosie was soaping away in wild abandon. When he invites himself inside the bathroom, Rosie screams, puzzled with her tito’s demeanor! She reasons, “’Di ko sya pinaghinalaan. Sinabi kasi nyang lagi kong iwanang bukas ang pinto.” Boy, she is as stupid as a skunk! After catching him mashing her tits while she was asleep, she wouldn’t suspect him of a devious plot to get in her pants? Is anybody up there?

There is a judicious show of body parts from Sofia Lee. Even the boys, Marco Morales and Charles Delgado, were generous showing their full frontal and backside assets at some scenes. These singular moments are, after all, the raison d’etre of this two-bit film work. A bit of cock, a bit of ass, a bit of tits! Ka-ching! Who cares if the one megging the picture has an I.Q. of 10?

Before I forget, this is (mis)directed by Fellyx Honeyfield.

Foul mouthed Sofia Lee

Marco Morales: brotherly love.

Halik sa Tubig - Of Cluttered Mess, Naughty Men and Spaced Out Goddeses

Kiro Baldemor, Orlando Sol and Marco Morales : Naughty triumvirate!

In Alejandro “Bong” Ramos’ “Halik sa Tubig” (Kiss in the Water), they start with an introduction about those “kwentong bayan” – which, let me tell you up front, are all hogwash. This particular small town lore is about a mythical earth goddess named Mercedita, a powerful wandering earth-bound diwata who watches over the brokenhearted of Binangonan, Rizal (she is territorial – LOL). In this story, we follow Ilo (Paolo Paraiso) who’s pining for the childhood sweetheart who left. Ten years into his search, he finds her married – and ill!

Ilo works as a caretaker of a fishpen, locally called “batilyo”; a job he shares with 3 other guys: Kain (Marco Morales), Pitong (Kiro Baldemor), and Andong (Orlando Sol). One fateful day, he finds a lady washed up amidst floating lilies. Her name – Mercedita. Is she or isn’t she?

Althea Vega is Mercedita

Director Ramos finally shows in his tacky story telling the limits of his capacity as a filmmaker. Good visuals don’t suffice. In fact, even color grading here is experimental at best. Some scenes they OD’ed with color saturation; someone was left unattended playing with his picassa or photo shop – or whatever it is that adjusts cinema colors. Paolo, in one of his rare lead roles (Deo Fajardo Jr.'s "Casa" and Adolf Alix Jr.'s "Imoral"), appears disheveled and uninteresting. He mopes all throughout the film; his character never left the single dimension that he’s in!

It’s actually the triumvirate – Morales, Sol and Baldemor – that’s given the spotlight as they get themselves into different fracas that would highlight their sexual stamina. Orlando Sol registers strongly on screen (and he gets to show his butt up close too) and Marco Morales does what he usually does in films: swears, gets high, shows his ass, and fornicates. Just a couple of years since he started, the strain of his lifestyle is prematurely starting to show. Kiro on the other hand does… damn, what did he do there? Jeff Luna makes a horizontal cameo too.

Ramos’ latest movie is a cluttered mess. At no point did we ever believe on the mythology at hand. Casting Althea Vega ("Walang Kawala", "Big Night") as Mercedita may be contributory to this. There was nothing in her bearing that suggested royalty or mysticism. In fact, if they muted the sound or spliced a few scenes out, I would surmise she's the ecdysiast from the beerhouse down the corner, then got herself accidentally entangled in a sea of water lilies. After all, which goddess in their moments of lucidity would swiftly strip down on top of a hill just to enjoy the fresh ocean breeze? Which goddess would succumb to smoking weeds after a few prods from drunken men? Which goddess carries gravity-friendly size 40 boobs? I rest my case!

There were moments of pure hilarity too. Such as when Mercedita gets raped and we see her curling her toes. She sure loved the misdeed. When the voice over relates the comeuppance of the three guys, the prose went from ponderous to comedic: “… hanggang mabalot ito sa kalibugan ng dagat!” and “at di nila mapigilan ang magparaos”. Ngi! Then as if to save the best for last, the avenging goddess - with Mercedita hanging on a nipa wall - casts a spell upon the baddies: a spell that had them fondling and cavorting with each other. It's a ridiculously meretricious menage a trios. Everytime Ramos loses narrative steam, he turns to tawdry and ill-conceived ménage a trois to redeem his dwindling think board. (See “Araro”.) Brilliant!

To resurrect Paolo’s fastly nondescript character from cinematic limbo, he is given an off-the-wall scene with a ghost for closure! How utterly silly!

Fresh faced Orlando Sol registers strongly on screen. He is part of the overhauled singing group "Masculados".

Orlando and his sequined briefs.

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

One Two Three Punch from Joel Lamangan

I'll be damned.

After not having posted any blogs here, Joel Lamangan would seem to dominate my pages. First off, there was the passable "When I Met You". Then there's the interesting indie, "Fuschia" which had a compelling narrative but tepid film-making, as well as disappointing bordeline performances from some of the industry's otherwise reliable veterans - Gloria Romero, Robert Arevalo and Eddie Garcia.

The movie itself could probably be divided in three parts - the light comic chapter, the dramatic segment peppered with sob stories, then the concluding action thriller-cum-pseudopolitical commentary, complete with guns and goons that's always seen in 98% of Joel Lamangan movies. As always, there are gun-toting matons riding a jeep, harassing people, kidnapping or mugging a character or two. This ouvre is also a glaring example of the limitations that even veteran performers like the aforementioned stars suffer in the hands of a mediocre script. Arevalo's supposed funny verbal tirades against Eddie Garcia kept falling flat. But it is heartening to see Ms. Romero churn out a charming, albeit spunky performance. She would have made Anita Linda's award-winning "Adora" a lot more engaging since we feel that most of the acclaim in the latter has been overrated. Bad bad me for bad mouthing veterans? Nah, just saying as I see it.

The third Lamangan feature is the homo-fantasy "Heavenly Touch" that's currently cashing in at the Galleria's Cinema 9. Rodel (Paolo Serrano) and Jonard (newcomer Joash Balejado) are disparate souls working together at a massage parlor. Errr, haven't we heard of this story before? Oh yes, we have - many many times before - and in better made films. Without batting an eyelash, we'd figure out that they earn a living by providing heavenly touch to tired bodies. Soon thereafter, they fall for each other - and get themselves into big trouble.

In Lamangan's oft-repeated cinematic imaginings, this is where we see bad politicos and corrupt police men who possess hordes of big burly men carrying guns, swatting poor denizens in their way. You guessed it too? Brilliant. Then you can predict the outcome of this story. These same burly contravidas were seemingly transplanted straight from "Fuschia" and even Lamangan's "Walang Kawala (No Way Out)" with Joseph Bitangcol and Polo Ravales. Only, this familiar reincarnation of metropolitan squalor has 3, no, 4 full frontal male genitalia swinging all over the celluloid canvas in wild abandon. Akala ko, anatomy class. Hahahaha.

Marco Morales, who always enjoys an enviable screen presence in floozy and run-of-the-mill "indies" shares his dickie wangwang along with Joash Balejado and a couple more extras where they are seen coming out of showers or getting out of a massage room. Alleluiah! Let the scrotal worshippers come rushing to the cinema. LOL. I wonder Marco Morales he keeps flashing the family jewels even in films where he is a virtual extra. His "Butas" seems to have made a lot of moolah thus he really deserves more lead roles, even in exploitation flicks like Heavenly Touch.

How are the performances? Balejado has the presence of former studs like Daniel Fernando, Julio Diaz, et. al. but he badly needs to learn the craft, and I guess it's not a very acceptable excuse that this is his first starrer. After all, there are intensive acting classes all over. On the other hand, Paolo Serrano comes off a natural - strong presence and movie star persona. There are no awkward moments even in ridiculous scenes where he's supposed to prey after Balejado. Baket? Serrano successfully breaks out from his usual male erotic features. Others in the cast suffer the fate of one-note characters: Irma Adlawan (who i thought has totally shed off her theatrical bad habits in several indie features - "Sa North Diversion Road", "Mga Pusang Gala", "ICU Bed 7", "Still Life") revisits these annoying habits ("Mga Munting Tinig", "Tukso", "Dose").

Lamangan is having a blast. But his "Huling Birhen sa Lupa" days are too far behind him, which is too bad. Then the Metro Manila Film Festival is just around the corner. Oh gawd!