Katrina Stuart Santiago

while i try and wrap my head around the mere existence of this movie, here’s a male voice i trust and love because it is consistent and self-conscious and always intelligent, even as it is Pinoy male macho.

Ang tunay na lalake ay walang abs (At iba pang komento sa pelikulang Manila Kingpin: The Asiong Salonga Story) ni Yol Jamendang

Eto ang lagay – matagal na, matagal na matagal na akong hindi nakakakita ng trailer ng pelikulang Pilipino na may barilan, may tino-torture, at umuulan pero walang nag-iiyakan. Ang huli kong napanood na Pinoy action film sa sinehan mismo e yung Anak ng Kumander na starring, directed by, co-written by, theme song performed by at produced by Manny Pacquiao. Ang masasabi ko lang ay…magaling, napakagaling na boksingero ni Pacquiao. Yun lang. Di rin ako makarelate sa lalake sa mga recent na pelikulang Pinoy – lalakeng pinag-aagawan nina Christine Reyes at Anne Curtis dahil ang guwapo niya lang, o lalakeng kabisote na nakaengkanto ng babaeng nasa kalahati ng kanyang edad, o kaya lalakeng nagkaka-amnesia sa isang pelikulang pinamagatang My Amnesia Girl.

Idagdag pa na sina Ely Buendia at Gloc9 ang gumawa ng theme song ng Asiong, tapos may awayan portion pa tungkol sa director’s cut at producer’s cut at may A rating mula sa Cinema Ratings Board – e di game, tara, panoorin natin ang Manila Kingpin: The Asiong Salonga Story.

Busy ka ba? Kung oo, sasabihin ko na lang sa yo na panget ang Asiong, pero pangako, magugustuhan mo siya. Kung hindi ka busy, upo ka muna. Ipapaliwanag ko sa yo kung bakit.

Maganda ang timing ng Asiong. Entry siya sa Metro Manila Film Festival, tapos ang mga kasabayan niya e same old same old – UnliShake Rattle and Roll, pelikulang may Kris Aquino at salitang “Mano” sa pamagat, pelikulang may Juday at Ryan Agoncillo, Panday of the Titans, pelikulang may “Enteng” at “Ina Mo” sa pamagat, at kung anu-ano pang shit. Tapos, isipin mo yung mga nagdaang lima, sampung taon. May naaalala ka bang Pinoy action film? May naaalala ka bang pelikulang Pinoy na trailer pa lang e alam mo nang panlalake siya?

Panlalakeng pelikula. Huwag na nating pag-usapan ang pene films nung 70s at ang titilating films gaya ng Talong, Anakan mo Ako at Tag-ulan Noon, Ang Bukid ay Basa. Wag ganun, baka masabihan pa tayong sexist. Isipin mo na lang si Derek Ramsey.

Oo, isipin mo si Derek Ramsey. Nasa tabing dagat siya, tinatanaw si Angelica Panganiban. Tapos tututok kay Derek yung camera, lalapit, malapit na malapit, parang hinihimas ang kanyang balikat, dibdib, abs. Hindi ka sigurado pero parang may nakita kang bumabakat sa suot niyang short.

O isipin mo si Gerald Anderson. Kausap niya si Sarah Geronimo. Sabi ni Sarah, bakit ka ganyan makatingin? Tapos sasabihin ni Gerald, ang ganda mo kasi e. Tapos ngingiti siya, parang biglang nag-slow mo ang camera, tapos tatambling sa kilig si Sarah Geronimo.

Hindi ganyan ang panlalakeng pelikula. Yang mga ganyang pelikula ay yung tipo ng pelikulang napanood mo kasi monthsary niyo ng girlfriend mo at gusto niyang manood ng sine tapos pumayag kang yun na lang ang panoorin kasi mahal mo siya and all that shit. Tapos after a few months, maghihiwalay kayo kasi nagalit siya dahil ayaw mong gamiting profile pic sa Facebook yung picture niyong dalawa na magkayakap nung minsang nagpunta kayo sa Enchanted Kingdom.

Ano na nga bang pinag-uusapan natin?

Sa Asiong, walang Derek Ramsey. Yung mga main characters, malaki ang tiyan. Pati nga si Carla Abellana, malaki ang tiyan dahil buntis. Alam mo na nilagay yung mga artistang yun sa Asiong hindi dahil sa kanilang good looks kundi dahil sa kanilang personality. Dahil dun, pag sinabi mo sa mga kaibigan mo na “Maganda ang Asiong!”, meron kang credibility, di tulad ng mga nagsasabing “Maganda ang Twilight kasi ang guwapo ni Edward Cullen! Like niyo to if you agree!”. Tanginang yan.

Totoo rin yung sinasabi ng ibang reviewers na ang gulo ng kuwento ng Asiong, na parang tumira ng katol yung nag-edit, ganun. Pero okey lang yun. Nagpunta ka sa sinehan para magtext, dumukot sa malalim na lalagyan ng popcorn, lumingon sa magsyotang naghahalikan, magdikit ng bubble gum sa upuan at tumingin sa screen paminsan-minsan kapag lumalakas ang volume kasi may nagbabarilan. Hindi ka nagsine para mabago ang buhay mo. Walang graded recitation pagkatapos ng pelikula. Gusto mo lang maging ikaw at alam mong hindi ikaw si Gerald Anderson at si Coco Martin.

Kaya okey lang kahit sa simula ng pelikula sinuntok ni Roi Vinzon nang 48 times sa mukha si Jorge Ejercito (Asiong) tapos sa susunod na eksena listong-listo na siya at isinama ang tropa para rumesbak. Okey lang na kahit tirador at kutsilyo ang ipinantutok nila bago magsimula ang laban, naratrat ng bala ang mga kalaban nung pumalag sila. Wala tayong problema kahit na nung magkatutukan ng baril, walang hawak na baril yung isang tambay at kamao niya ang ipinantutok niya. Yaan mo na kung bakit hindi pa rin nakakalabas ng Bilibid si Jay Manalo kahit tropa niya lahat ng pulis. Pakelam ba natin kung bakit lumusob sa libing sina Totoy Golem tapos handa sa barilan ang buong pamilya tapos biglang may nakikipagbarilan habang nagbibisekleta.

Magandang panoorin ang Asiong sa sinehan kase maraming nanonood na tunay na lalake. Yun bang nakacargo pants at itim na t-shirt tapos maya’t maya sumisigaw ng “Asioooong!”. Tapos pag may tumunog na cellphone sisigawan nila ng “Pakisagot naman yung telepono o. Busy ako e.” Kapag sinabi ni Asiong na “Simple lang naman ang buhay mo, Fidela e. Alagaan mo ang anak natin, magpaganda ka pa lalo, lagi kang maging malambing…at hintayin mo akong umuwi,” papalakpak sila, tapos papalakpak ka rin, magpapalakpakan kayong lahat, tapos magmamadali kayong umuwi dahil kailangan niyo pang magsaing.

Maraming eksenang beri gud sa Asiong. Kung magaling lang umarte si Jorge at hindi timang yung pagka-edit, pang-first honor yung pelikula e. Halimbawa, ang gandang tingnan ng mga namamatay kapag may aksiyon. Di kagaya ng ibang Pinoy action films na muntanga lang yung mga nababaril (usually nasa mataas na lugar, mangingisay, tapos mahuhulog). Pinakagusto kong namatay yung driver ng kalesa. Bale ang nangyayari, binabaril nina Totoy Golem yung dati nilang tropa na kaaway na nila ngayon. Nakatago siya sa likod nung driver ng kalesa, tapos dahil kontrabida sina Totoy Golem, bumaril pa rin sila kahit may inosenteng matatamaan. E di nasapul yung driver ng kalesa. Tapos ang ganda niyang mamatay. Lumiyad siya nang nakapikit, parang nilalabasan, saka siya humandusay. Tangina, ganun mamatay, mehn. Kung may gagawa ng bagong pelikula tungkol kay Rizal, siya dapat ang kuning artista para maganda yung death scene.

Marami ring magaling umarte. Bilib na bilib ako kay Carla Abellana kasi nahalikan niya nang 48 times si Jorge Ejercito. Kalokohan kapag hindi siya nanalong Best Actress dahil dun. Solid ang supporting cast – as usual magaling si Baron Geisler as himself, mukha talagang kontrabidang masarap pagbabarilin si Jon Regala, at utang na loob naman, gawin niyo nang bida si Ronnie Lazaro. Ang galing-galing nung tao lagi na lang siyang supporting actor sa mga pelikula.

Ang bad news e R13 yung pelikula kaya hindi ka titigasan sa mga love scene. Namputsa naman, mga direktor ng sex scene sa pelikulang Pinoy, andaming nagkalat na sex scandal, panoorin niyo naman para matuto kayo kung paano bumuhay ng hibo ng kalupaan. O kaya hingi kayo ng tips kay Hayden.

Okey na siguro to. Kung di mo pa napapanood, panoorin mo na ang Asiong. “Trak trak na bigas pa ang kakainin” ng Pinoy action film, pero mabuti naman at buhay pa pala siya. Welcome back pare, long time no see.

-lil z

the cultural discourse on bayanihan and the Filipino’s propensity for kindness and reaching out has undoubtedly changed since the disaster that was Ondoy in 2009. then, relief efforts were galvanized online, like a grand display of how we could all be heroes, how we could help in our own ways, with narratives on heroism cutting across artistas going on their boats and surfboards to help out those stranded on the rooftops of their homes, with the nameless | faceless pinoys all over the world who opened up their homes to donations and spent time packing these for sending to affected areas.

this story was no surprise then, as it is no surprise now, two years after, with the disaster called Sendong. and it doesn’t surprise me either, the questions now being asked of volunteerism and helping out, of the bayanihan that happens online. in fact it is infinitely interesting that these questions are being asked now, because it means we are becoming more and more critical even of ourselves, and the role we play in light of government’s functions and dysfunctions, all the more highlighted in times of tragedy.

on twitter, @complainerchua raised valid points about the use of such a public space to raise funds to be donated to Sendong relief efforts:

@complainerchua was referring to @franky who was selling his samsung tab to the highest bidder with the promise of giving all the money earned to @gangbadoy’s Rock Ed. @complainerchua then asks: why make this so public? why display the amount of a donation?

the answer of course seems simple: on twitter and in light of the tragedy, people might be willing to shell out a little bit more than the actual amount for the gadget. in as much as it might be seen as a display of how much @franky was donating, it could also be a display of how much people were willing to help.

which might be said of Rock Ed via @gangbadoy as well. on the one hand it might seem like an overload of calls / demands / pleas for every kind of aid that’s needed for Sendong victims. at the same time, it’s entirely possible that companies like So-en and Avon, EQ diapers, LBC, Cebu Pac and PAL would be less, uh, helpful (?) were they not being called upon / mentioned / thanked via social media. it’s not to say that they might not help otherwise, but we can’t know that for sure anymore.

what i’m sure of is the fact that for whatever complaints we might have about the volunteerism that Rock Ed stands for, it has proven itself as a credible NGO through which funds and donations might be generated and can pass through, from donor to beneficiaries. and any organization, non-government and otherwise, would know that credibility is hard to come by in these shores.

but here is the crux of the matter: how can an NGO be more credible than government? how can we trust it more in a time of crisis?

elsewhere in the world private and non-government relief efforts is about helping people in need. when someone like Oprah or Ellen, when Rachael Ray, take on causes, they are doing so to help a particular sector of people; when a huge television special is put together to raise funds, it’s very clear that it’s about helping the victims of one tragedy or other. but here where we come from the line between helping people and helping government is not clearly drawn.

not surprisingly, it’s a line that government itself would rather not draw. because then it allows a president like PNoy to not speak at all in the aftermath of tragedy. it allows him to think that it’s ok to stay silent for four days because yes, his people are doing their jobs, but also because look at the Filipinos! coming together to help CDO and Iligan! because without drawing that line, PNoy can come out and talk about the Filipino as hero, he can talk about falling 10 times and getting up 11 times (paano ‘yon exactly?), he can talk about lending a helping hand, and he can take credit for a nation’s middle and upper classes that rise to the occasion of tragedy, that will do what it can, given its limited resources.

it is because that line isn’t drawn that Rock Ed is being questioned now, on twitter and elsewhere, for the volunteerism that it banks on and celebrates. it is in the blurring of that line that someone like Illac Diaz can shoot from the hip and question rock concerts as fund raising activities. the critical stance is valid of course, but its premises need to be questioned, too. it should be clear to everyone after all, that the demand for a long-term solution is extraneous to the function of an NGO, the insistence on systemic change is different from the demand for volunteerism in a time of crisis — or at any other time for that matter.

and so in the same way that it was counterproductive of Mar Roxas’ DOTC to just set aside the volunteer work that the Cobonpue-Layug-Pineda team put together for the National Competitiveness Council’s NAIA 1 project, it is unfair (and yes, counterproductive) to be hitting Rock Ed and other NGOs for what they do in a time of crisis. this is valid work that volunteers put in, it is work that surely some other NGO would take on if Rock Ed weren’t around, albeit with less organization and probably a less functional network of donors / donations / volunteers.

which is not to say NGOs like Rock Ed should be saved from criticism at all. in fact they should precisely receive a fair amount of criticism because of how they function in light of government, and how they can be and are used by the latter in rhetoric and discourses on how things are ok, when things are farthest from being so.

in that sense we need to make clear, that whether we volunteer as individuals or within organizations, the work we do will not save the world, nor is this work that should even be here were government functioning properly and correctly. volunteerism, in a time of crisis and beyond, is always a stop-gap operation, always a short-term solution, always always a band-aid for the shallow wounds.

the deeper, more painful, more dangerous wounds, those are for organizations that fight and struggle for a change in the systems that are dysfunctional and corrupt and oppressive, the systems that allow for legal and illegal logging to continue, the systems that let more than a thousand people die in a flood. NGOs are in a box of a cause, or a time of need, or sectoral change at most. its refusal to negotiate on the level of systemic change is its own limitation. that the latter is also what makes NGOs a welcome friend to a disaster of a PNoy government, is no surprise.